内容
Contents
Introduction and historical notes
Part One: The Seven Gateways to the Underworld
Chapter 1 Overcoming the Monster
Chapter 2 The Monster (II) and the Thrilling Escape From Death
Chapter 7 Comedy (II): The Plot Disguised
Chapter 8 Tragedy (I): The Five Stages
Chapter 9 Tragedy (II): The Divided Self
Chapter 10 Tragedy (III): The Hero as Monster
Chapter 12 The Dark Power: From Shadow into Light
Epilogue to Part One: The Rule of Three (the role played in stories by numbers)
Part Two: The Complete Happy Ending
Chapter 14 Seeing Whole: The Feminine and Masculine Values
Chapter 15 The Perfect Balance
Chapter 16 The Unrealised Value
Chapter 17 The Archetypal Family Drama (Continued)
Chapter 21 The Ego Takes Over (I): Enter the Dark Inversion
Chapter 22 The Ego Takes Over (II): The Dark and Sentimental Versions
Chapter 23 The Ego Takes Over (III): Quest, Voyage and Return, Comedy
Chapter 24 The Ego Takes Over (IV): Tragedy and Rebirth
Chapter 25 Losing the Plot: Thomas Hardy – A Case History
第26章无处可去：被动的自我。二十世纪的死胡同——从契诃夫到近距离接触
Chapter 26 Going Nowhere: The Passive Ego. The Twentieth-Century Dead End – From Chekhov to Close Encounters
第27章为什么是性和暴力？积极的自我。二十世纪的痴迷：从德萨德到终结者
Chapter 27 Why Sex and Violence? The Active Ego. The Twentieth-Century Obsession: From de Sade to The Terminator
Chapter 28 Rebellion Against ‘The One’: From Job to Nineteen Eighty-Four
Chapter 30 The Riddle of the Sphinx: Oedipus and Hamlet
Part Four: Why We Tell Stories
Chapter 31 Telling Us Who We Are: Ego versus Instinct
Chapter 32 Into the Real World: The Ruling Consciousness
Chapter 33 Of Gods and Men: Reconnecting with ‘The One’
Chapter 34 The Age of Loki: The Dismantling of the Self
Epilogue: The Light and the Shadows on the Wall
此重印版包括对本书早期印刷中出现的各种事实或印刷错误的更正。如果读者发现任何进一步的错误，请在以后的版本中转交给作者更正，作者将不胜感激。
This reprint includes corrections of various factual or typographical errors which appeared in earlier printings of this book. If readers spot any further mistakes, the author would be grateful if these could be passed on to him for correction in future editions.
简介和历史记录
Introduction and Historical Notes
“他同样计划了一部作品，以表明世界上真正的小说数量有多么少，但具体是在他生命的哪个阶段，我们不得而知；相同的图像，几乎没有变化，已经为所有曾经写作过的作者服务过。
‘He had likewise projected, but at what part of his life is not known, a work to show how small a quantity of REAL FICTION there is in the world; and that the same images, with very little variation, have served all the authors who have ever written.’
塞缪尔·约翰逊博士，收录在博斯韦尔的《约翰逊传》中
Dr Samuel Johnson, recorded in Boswell’s Life of Johnson
20 世纪 70 年代中期，西方世界各地的电影院外都排起了长队，只为观看有史以来最具戏剧性的恐怖电影之一。史蒂文·斯皮尔伯格的《大白鲨》该剧预示着二十世纪末最成功的流行故事讲述者的到来，讲述了长岛海滨小度假胜地阿米蒂的平静如何被一条几乎具有超自然力量的巨大鲨鱼的到来所粗暴地打破。连续几个星期，鲨鱼对一个又一个受害者的野蛮攻击让市民们陷入了恐惧和困惑之中。最后，当威胁感似乎难以承受时，故事的主人公，当地警察局长布罗迪，带着两名同伴出发，与怪物展开战斗。这是一场激烈的高潮战斗，肢体被切断，在水下打谷，直到最后鲨鱼被杀死。社区在普遍的欢乐中聚集在一起。巨大的威胁已经解除。爱德的生活可以重新开始。
In the mid-1970s queues formed outside cinemas all over the Western world to see one of the most dramatic horror films ever made. Steven Spielberg’s Jaws, which heralded the arrival of the most successful popular storyteller of the late-twentieth century, told how the peace of a little Long Island seaside resort, Amity, was rudely shattered by the arrival offshore of a monstrous shark, of almost supernatural power. For weeks on end the citizens are thrown into a stew of fear and confusion by the shark’s savage attacks on one victim after another. Finally, when the sense of threat seems almost too much to bear, the hero of the story, the local police chief Brody, sets out with two companions to do battle with the monster. There is a tremendous climactic fight, with much severing of limbs and threshing about underwater, until at last the shark is slain. The community comes together in universal jubilation. The great threat has been lifted. Life in Amity can begin again.
可以肯定的是，当数以百万计的二十世纪的电影观众在一千家豪华电影院的屏幕上展开这个故事时，他们被这个故事所吸引，很少有人会停下来认为他们与一群蓬头垢面的动物有很多共同点—— 1200 年前，剥皮的撒克逊战士们挤在通风良好、铺满荆条的大厅的火堆旁，聆听吟游诗人吟诵一首史诗的诗句。
It is safe to assume that few of the millions of sophisticated twentieth-century moviegoers who were gripped by this tale as it unfolded from the screens of a thousand luxury cinemas would have paused to think they had much in common with an unkempt bunch of animal-skinned Saxon warriors, huddled round the fire of some draughty, wattle-and-daub hall 1200 years before, as they listened to the minstrel chanting out the verses of an epic poem.
然而，只要想想那首流传至今的古诗的故事，主要是由几代无聊而困惑的盎格鲁-撒克逊文学学生在考场上剖析。
Yet just consider the story of that ancient poem which has survived to our own day mainly to be dissected in examination rooms by generations of bored and baffled students of Anglo-Saxon literature.
《贝奥武夫》的第一部分讲述了赫奥罗特海边小社区的和平如何被格伦德尔的到来彻底打破，格伦德尔是一个住在附近湖深处的怪物，拥有近乎超自然的力量。赫罗特的居民陷入了恐惧和混乱之中，格伦德尔夜复一夜地对他们睡觉的大厅进行神秘的攻击，抓住一个又一个受害者并将他们撕成碎片。最后，当威胁感似乎难以承受时，英雄贝奥武夫开始战斗，首先是与格伦德尔，然后是与他更可怕的怪物母亲。有一个巨大的高潮战斗中，肢体被大量切断，并在水下打谷，直到最后两个怪物都被杀死。社区欢腾地聚集在一起。巨大的威胁已经解除。赫罗特的生活可以重新开始。
The first part of Beowulf tells of how the peace of the little seaside community of Heorot is rudely shattered by the arrival of Grendel, a monster of almost supernatural power, who lives in the depths of a nearby lake. The inhabitants of Heorot are thrown into a stew of fear and confusion as, night after night, Grendel makes his mysterious attacks on the hall in which they sleep, seizing one victim after another and tearing them to pieces. Finally, when the sense of threat seems almost too much to bear, the hero Beowulf sets out to do battle, first with Grendel, then with his even more terrible monster mother. There is a tremendous climactic fight, with much severing of limbs and threshing about underwater, until at last both monsters are slain. The community comes together in jubilation. The great threat has been lifted. Life in Heorot can begin again.
就情节的大致轮廓而言，二十世纪的恐怖电影和八世纪的史诗之间的相似之处是如此惊人，以至于它们几乎可以被视为讲述同一个故事。我们是否可以假设《大白鲨》的作者彼得·本奇利在某种程度上受到了《贝奥武夫》的影响？当然不是。即使他读过《贝奥武夫》，他也不太可能构思出一个具有《大白鲨》力量的故事，除非它自发地出现在他自己的想象中。然而，事实仍然是，这两个故事有着惊人的相似模式——而且，这一模式成为了人类文学中在许多不同时期和世界各地无数其他故事的基础。
In terms of the bare outlines of their plots, the resemblances between the twentieth-century horror film and the eighth-century epic are so striking that they may almost be regarded as telling the same story. Are we to assume that the author of Jaws, Peter Benchley, had in some way been influenced by Beowulf ? Of course not. Even if he had read Beowulf, it is most unlikely that he could have conceived a story with the power of Jaws unless it had emerged spontaneously into his own imagination. Yet the fact remains that the two stories share a remarkably similar pattern – one which moreover has formed the basis for countless other stories in the literature of mankind, at many different times and all over the world.
那么解释是什么呢？
So what is the explanation?
我们现代文明的一个奇怪特征是，尽管我们准备投入无数的体力和精神资源去探索银河系最遥远的深处，或者钻研原子最微妙的奥秘——试图，我们喜欢思考，探究宇宙的每一个秘密——最伟大、最重要的奥秘之一就在我们眼皮底下如此之近，以至于我们几乎没有意识到它是一个奥秘。
It is a curious characteristic of our modern civilisation that, whereas we are prepared to devote untold physical and mental resources to reaching out into the furthest recesses of the galaxy, or to delving into the most delicate mysteries of the atom – in an attempt, as we like to think, to plumb every last secret of the universe – one of the greatest and most important mysteries is lying so close beneath our noses that we scarcely even recognise it to be a mystery at all.
在任何特定时刻，世界各地都有数亿人参与人类所有形式的活动中最熟悉的活动之一。以某种方式，他们会将注意力集中在那些奇怪的心理图像序列之一上，我们称之为故事。
At any given moment, all over the world, hundreds of millions of people will be engaged in what is one of the most familiar of all forms of human activity. In one way or another they will have their attention focused on one of those strange sequences of mental images which we call a story.
我们一生中花费了大量的时间来追寻故事：讲述故事；讲述故事；讲述故事。倾听他们的声音；阅读它们；观看他们在电视屏幕、电影或舞台上的表演。它们无疑是我们日常生活中最重要的特征之一。
We spend a phenomenal amount of our lives following stories: telling them; listening to them; reading them; watching them being acted out on the television screen or in films or on a stage. They are far and away one of the most important features of our everyday existence.
虚构故事不仅在我们的生活中发挥着如此重要的作用，就像小说或戏剧、电影或歌剧、连环漫画或电视“肥皂剧”一样。通过报纸或电视，我们的新闻以“故事”的形式呈现给我们。我们的历史书主要是由故事组成的。甚至我们的大部分谈话都是以故事的形式讲述日常生活中的事件。事实上，这些结构化的图像序列是我们所知道的描述我们生活中几乎所有发生的一切的最自然的方式。
Not only do fictional stories play such a significant role in our lives, as novels or plays, films or operas, comic strips or TV ‘soaps’. Through newspapers or television, our news is presented to us in the form of ‘stories’. Our history books are largely made up of stories. Even much of our conversation is taken up with recounting the events of everyday life in the form of stories. These structured sequences of imagery are in fact the most natural way we know to describe almost everything which happens in our lives.
但显然，我们最常想到的故事是虚构的形式。我们对它们的需求是如此深刻和本能，以至于当我们还是小孩子的时候，我们刚学会说话，就开始要求听故事，作为我们的食欲的证据，这种欲望可能会持续到我们死去的那一天。故事在历史上的每个社会中都扮演着如此重要的角色，以至于我们理所当然地认为荷马或莎士比亚等伟大的讲故事者应该是有史以来最著名的人物之一。在现代，我们并不认为某些男人和女人，如查理·卓别林或玛丽莲·梦露，应该被视为奇怪作为世界上最著名的人物之一，仅仅是因为他们在电影屏幕上扮演了故事中的人物。即使当我们从自己的世界望向太空时，我们也会发现许多最引人注目的天体——金星、火星、木星、猎户座、英仙座、仙女座——都以故事中的人物命名。
But it is obviously in their fictional form that we most usually think of stories. So deep and so instinctive is our need for them that, as small children, we have no sooner learned to speak than we begin demanding to be told stories, as evidence of an appetite likely to continue to our dying day. So central a part have stories played in every society in history that we take it for granted that the great storytellers, such as Homer or Shakespeare, should be among the most famous people who ever lived. In modern times we have not thought it odd that certain men and women, such as Charlie Chaplin or Marilyn Monroe, should come to be regarded as among the best-known figures in the world, simply because they acted out the characters from stories on the cinema screen. Even when we look out from our own world into space, we find we have named many of the most conspicuous heavenly bodies – Venus, Mars, Jupiter, Orion, Perseus, Andromeda – after characters from stories.
然而令人惊讶的是，我们对为什么沉迷于这种奇怪的活动形式毫无好奇。它的真正目的是什么？我们把讲故事的需要视为理所当然，以至于我们几乎没有想到过这样的问题。1
Yet what is astonishing is how incurious we are as to why we indulge in this strange form of activity. What real purpose does it serve? So much do we take our need to tell stories for granted that such questions scarcely even occur to us.1
事实上，我们在这里看到的实际上是一个建立在另一个之上的谜团，因为我们对讲故事的热情始于另一种能力，它本身就是我们生活的一部分，以至于我们看不到它有多么奇怪：我们“想象”的能力’，使我们有意识地感知实际上并不在我们眼前的事物的图像。
In fact what we are looking at here is really one mystery built upon another, because our passion for storytelling begins from another faculty which is itself so much part of our lives that we fail to see just how strange it is: our ability to ‘imagine’, to bring up to our conscious perception the images of things which are not actually in front of our eyes.
如果有人对我们说“马特宏峰”……或“斑马”……或“你家里的厨房桌子”……或“喷火的龙”……就会发生一些非常奇怪的事情。在我们头脑中的某个地方，这些词可以引发对这些事情的心理想象。没有人确切知道该图像是在哪里以及如何产生或感知的。但我们有这种能力，不仅可以唤起我们身体感官所不存在的地方、人和事物的内在形象，甚至还可以唤起那些根本不存在的事物的内在形象，比如那条喷火龙。
If someone says to us ‘the Matterhorn’... or ‘a zebra’... or ‘your kitchen table at home’... or ‘a dragon breathing fire’... something very peculiar happens. Somewhere inside our heads, the words can trigger off a mental picture of each of these things. No one knows exactly where or how that image is produced or perceived. But we have this capacity to conjure up the inward images not only of places, people and things not present to our physical senses, but even of things, such as that fire-breathing dragon, which have never existed physically at all.
当然，正是这种能力，能够召唤出这些图像的整个序列，像电影一样在我们的内心眼前展开，使我们能够在睡觉时做梦，而当我们醒着时，将注意力集中在这些我们称为“梦”的心理模式上。故事。
And it is of course this ability to conjure up whole sequences of such images, unfolding before our inner eye like a film, which enables us to have dreams when we sleep, and when we are awake to focus our attention on these mental patterns we call stories.
本书想要表明的是，这些图案的制作在我们的生活中具有比我们意识到的更深刻、更重要的目的：事实上，其重要性怎么夸大都不过分。认识到这一点的第一个关键步骤是认识到，无论世界各地的男人和女人讲故事的地方，他们想象中的故事往往以非常相似的方式形成。
What this book sets out to show is that the making of these patterns serves a far deeper and more significant purpose in our lives than we have realised: indeed one whose importance can scarcely be exaggerated. And the first crucial step towards bringing this into view is to recognise that, wherever men and women have told stories, all over the world, the stories emerging to their imaginations have tended to take shape in remarkably similar ways.
我们都熟悉这样一个有趣的概念：“世界上可能只有七个（或六个或五个）基本故事”。它之所以令人着迷，尤其是因为，尽管这一建议在印刷品中并不罕见地提出，但其作者似乎从未进一步解释这些故事可能是什么。但自从我开始意识到这个想法可能有一定道理以来，已经过去了 30 多年。
We are all familiar with the teasing notion that there may be ‘only seven (or six, or five) basic stories in the world’. It is tantalising not least because, even though this suggestion has not infrequently been put forward in print, its authors never seem to carry it further by explaining just what those stories might be. But it is now more than 30 years since I began to realise that there might seriously be some truth in this idea.
在写一本关于完全不同主题的书时，我发现我的注意力集中在少数特定的故事上。其中包括莎士比亚戏剧《麦克白》；弗拉基米尔·纳博科夫的小说《洛丽塔》；一部 20 世纪 60 年代的法国电影，特吕弗的《朱尔斯和吉姆》; 希腊神话中的伊卡洛斯；以及德国浮士德的传说。从表面上看，这些故事似乎没有太多共同点。但令我困扰的是，在更深的层次上，它们似乎都围绕着相同的一般模式展开。每个故事都以一个或多个英雄开始，但在某种程度上尚未实现。故事一开始的情绪是一种期待，因为英雄似乎正站在某种伟大冒险或经历的边缘。在每一种情况下，他都找到了自己的野心或欲望的焦点，并且有一段时间似乎享受着近乎梦想般的成功。麦克白成为国王；亨伯特开始了他与迷人的洛丽塔的恋情；朱尔斯和吉姆是第一次世界大战前巴黎的两个年轻人，他们遇见了他们的梦想女孩；伊卡洛斯发现他能飞；浮士德被魔鬼赋予了各种神奇的经历。但故事的基调逐渐阴暗下来。英雄体验到越来越强烈的挫败感。他所选择的道路似乎注定是注定的，无法愉快地解决。他越来越遇到困难。一切都不顺利；直到最初的梦想变成了噩梦。最后，故事似乎不可避免地达到了暴力自我毁灭的高潮。梦以死亡告终。
While writing a book on a quite different subject, I found my attention focusing on a small number of particular stories. They included a Shakespeare play, Macbeth; Vladimir Nabokov’s novel Lolita; a 1960s French film, Truffaut’s Jules et Jim; the Greek myth of Icarus; and the German legend of Faust. On the face of it, these stories might not seem to have much in common. But what haunted me was the way that, at a deeper level, they all seemed to unfold round the same general pattern. Each begins with a hero, or heroes, in some way unfulfilled. The mood at the beginning of the story is one of anticipation, as the hero seems to be standing on the edge of some great adventure or experience. In each case he finds a focus for his ambitions or desires, and for a time seems to enjoy almost dream-like success. Macbeth becomes king; Humbert embarks on his affair with the bewitching Lolita; Jules and Jim, two young men in pre-First World War Paris, meet the girl of their dreams; Icarus discovers that he can fly; Faust is given access by the devil to all sorts of magical experiences. But gradually the mood of the story darkens. The hero experiences an increasing sense of frustration. There is something about the course he has chosen which makes it appear doomed, unable to resolve happily. More and more he runs into difficulty; everything goes wrong; until that original dream has turned into a nightmare. Finally, seemingly inexorably, the story works up to a climax of violent self-destruction. The dream ends in death.
这些故事背后的模式是如此一致，以至于可以在一系列五个可识别的阶段中追踪它：从最初的期待情绪，到一切似乎都进展得令人难以置信的“梦想阶段”，再到“当事情开始神秘地出错时，会进入“沮丧阶段”；当一切都变得可怕的错误时，会进入“噩梦阶段”，并以死亡和毁灭的最后时刻结束。我一意识到这种模式，许多其他著名的故事就开始表明自己遵循相同的总体形状。毫不奇怪，其中包括许多戏剧和歌剧悲剧，例如罗密欧与朱丽叶或卡门。其中包括神话和传说，例如唐璜的故事；小说，比如爱玛·包法利和安娜·卡列尼娜这两个不幸的女主人公的美梦变成了噩梦，最后都以自杀告终；或者像《邦妮和克莱德》这样的电影，描述了两个年轻恋人轻松地开始了银行抢劫犯的职业生涯，最后却被枪林弹雨打得千疮百孔。在讲故事的历史中，我们可以一次又一次地看到同样的主题，即英雄或女英雄被卷入一种行动过程，这种行动最初会带来某种忙碌的满足感和梦幻般的成功，但随后就会无情地变得黑暗，最终导致失败。噩梦和毁灭的高潮。这时两个问题开始出现。
So consistent was the pattern underlying each of these stories that it was possible to track it in a series of five identifiable stages: from the initial mood of anticipation, through a ‘dream stage’ when all seems to be going unbelievably well, to the ‘frustration stage’ when things begin to go mysteriously wrong, to the ‘nightmare stage’ where everything goes horrendously wrong, ending in that final moment of death and destruction. No sooner had I become aware of this pattern than many other well-known stories began to suggest themselves as following the same general shape. Not surprisingly, these included a good many dramatic and operatic tragedies, such as Romeo and Juliet or Carmen. They included myths and legends, such as that of Don Juan; novels, such as the dreams turned to nightmare of those two unhappy heroines, Emma Bovary and Anna Karenina, both ending in suicide; or films such as Bonnie and Clyde, describing the two young lovers who light-heartedly embark on a career as bank robbers and end up riddled with a hail of bullets. Again and again through the history of storytelling it was possible to see this same theme, of a hero or heroine being drawn into a course of action which leads initially to some kind of hectic gratification and dream-like success, but which then darkens inexorably to a climax of nightmare and destruction. And at this point two questions began to intrude.
首先，为什么会这样？为什么讲故事的人的想象力似乎如此容易且有规律地围绕这个主题形成？为什么我们认为它是一个如此令人满意的故事形式？
Firstly, why was this so? Why has the imagination of storytellers seemed to form so readily and regularly round this theme? Why do we recognise it as such a satisfactory shape to a story?
其次，是否还有其他类似底层故事的模式，以完全不同的方式塑造它们？毕竟，这种自我毁灭的循环只描述了某种类型的故事，有一个“不幸的结局”。那些有“幸福结局”的故事又如何呢？这些背后是否也存在类似的基本模式？
Secondly, were there other patterns like this underlying stories, shaping them in quite different ways? After all, this cycle of self-destruction only describes a certain type of story, with an ‘unhappy ending’. What about all those stories which have ‘happy endings’? Were there any similar basic patterns underlying these too?
当我开始从这个角度看待故事时，许多其他可能的基本情节开始浮现出来。例如，所有那些关于战胜“怪物”的故事，比如《大白鲨》或《贝奥武甫》，我们的兴趣集中在一些邪恶的怪物所构成的威胁上，然后英雄受到英雄的挑战，最后，一场高潮迭起的战斗，阵亡。有一些“白手起家”的故事，比如《丑小鸭》或《灰姑娘》，我们的主要兴趣在于看到一些最初卑微和被忽视的小英雄或女英雄被提升到巨大成功和辉煌的地位。有些故事以伟大的探索为主题，例如奥德赛或在《指环王》中，我们的兴趣集中在英雄为了某个遥远而极其重要的目标而进行的漫长而艰难的旅程。
As soon as I began to look at stories in this light, a number of other possible basic plots began to suggest themselves. There were, for instance, all those stories about the overcoming of a ‘monster’, like Jaws or Beowulf, in which our interest centres on the threat posed by some monstrous figure of evil, who is then challenged by the hero and finally, after a climactic battle, killed. There were ‘rags to riches’ stories, like The Ugly Duckling or Cinderella, where our main interest lies in seeing some initially humble and disregarded little hero or heroine being raised up to a position of immense success and splendour. There were stories based on the theme of a great quest, like the Odyssey or The Lord of the Rings, where our interest centres on the hero’s long, difficult journey towards some distant, enormously important goal.
我开始了几乎不加区别地阅读和重读的过程，阅读了数百个各种各样的故事（很快就意识到我们大多数人实际上记住的细节是多么少，即使是我们认为自己很了解的故事）。不久之后，我开始有了一个惊人的发现。不仅如此，在人类的故事讲述中，有许多基本主题或情节不断重复出现，塑造了几乎每个时代和文化的不同类型的故事。更令人惊讶的是，这些“基本情节”似乎在很大程度上塑造了他们所启发的故事。这样人们可能会发现，例如，一部著名的 19 世纪小说，其构建方式与 1200 年前的中东民间故事几乎完全相同；或者一个流行的现代儿童故事揭示了与古希腊史诗结构的显着的隐藏相似之处。
I embarked on an almost indiscriminate course of reading and re-reading, through hundreds of stories of all kinds (soon recognising how little most of us actually remember in detail even about stories we think we know quite well). And it was not long before I began to make a startling discovery. Not only did it indeed seem to be true that there were a number of basic themes or plots which continually recurred in the storytelling of mankind, shaping tales of very different types and from almost every age and culture. Even more surprising was the degree of detail to which these ‘basic plots’ seemed to shape the stories they had inspired; so that one might find, for instance, a well-known nineteenth-century novel constructed in almost exactly the same way as a Middle Eastern folk tale dating from 1200 years before; or a popular modern children’s story revealing remarkable hidden parallels with the structure of an epic poem composed in ancient Greece.
当一个又一个“基本情节”出现并可供观看时，每个情节都有自己特定的结构，我最终发现自己只有一堆棘手的故事，这些故事似乎不符合我一直在寻找的任何模式。我对它们感到困惑有一段时间。它们似乎完全不同：有一些是经典的儿童故事，比如彼得兔、彼得潘和爱丽丝梦游仙境；有一长串小说，从《鲁宾逊漂流记》到《故园重游》；有科幻小说，比如 HG 威尔斯的《时间机器》；电影包括《第三人》和《绿野仙踪》飘。然后，我突然意识到，所有这些故事实际上都是由相同的基本情节塑造的，而我以前甚至没有考虑过这个情节（我称之为“航行和返回”）。此时我发现自己面临着一种可能性，而这正是本书的基础。尽管我很早就熟悉了那种古老的、戏弄性的观念，即故事只有少数基本情节，但我从来没有比大多数人更认真地对待它。我现在不得不承认，在很大程度上，这实际上可能是真的。
As one ‘basic plot’ after another emerged to view, each with its own particular structure, I eventually found myself with just one intractable pile of stories which did not seem to fit any of the patterns I had been looking at. I puzzled over them for some time. They seemed to be completely diverse: several were classic children’s stories, like Peter Rabbit, Peter Pan and Alice in Wonderland; there were a long list of novels, from Robinson Crusoe to Brideshead Revisited; there were science fiction stories, like H. G. Wells’s The Time Machine; there were films ranging from The Third Man and The Wizard of Oz to Gone With The Wind. Then the penny dropped that all these stories were in fact shaped by the same basic plot, one I had not even considered before (that which I have called ‘Voyage and Return’). And at this point I found myself brought up against the possibility which is the basis of this book. Although I had long been familiar with that old teasing notion that there are only a handful of basic plots to stories, I had never taken it any more seriously than most people. I was now having to accept that, to a remarkable extent, it might actually be true.
当然，我已经看出事实绝非像那些轻松地引用有限数量的基本故事所暗示的那样简单。显然，每个故事都不能整齐地、机械地符合某一类情节：否则我们早就应该注意到这一事实，而故事也不会像现在这样千变万化、引人入胜。一种类型的地块与另一种类型的地块之间存在广泛的重叠区域。事实上，有很多故事是由多种因素塑造的。一次一个“基本情节”（甚至数量很少，包括《指环王》，其中包括赋予本书标题的所有七个情节）。还有其他故事仅由此类情节的一部分塑造。同样还有其他很多，它们表明故事在某种程度上“出了问题”，因为未能完全意识到其背后的基本情节。正如我们将看到的，故事如何以及为何会以这种方式出错，通常会给我们观众带来一种不满意的感觉，认为有些东西已经偏离了轨道，但这个问题提供了一些关于故事如何发展的最重要的线索。工作以及它们的真正含义。
Of course I could already see that the truth was by no means as simple as those lighthearted references to a limited number of basic stories might imply. Obviously it was not true that every story fits neatly and with mechanical regularity into one or another category of plot: otherwise we should all have noticed the fact long ago, and stories would scarcely be the endlessly varied and fascinating things that they are. There are extensive areas of overlap between one type of plot and another. Indeed, there are many stories which are shaped by more than one ‘basic plot’ at a time (there are even a very small number, including The Lord of the Rings, which include all seven of the plots which give this book its title). There are still other stories which are shaped only by part of such a plot. Again there are others, a great many, which show the story somehow ‘going wrong’, in terms of failing fully to realise the basic plot which lies behind it. As we shall see, the question of how and why stories can go wrong in this way, usually leaving us, the audience, with a dissatisfied sense that something has somewhere gone adrift, provides some of the most significant clues of all as to how stories work and what they are really about.
但我的调查越深入，有两件事就越明显。首先，确实有少数情节对于我们讲故事的方式至关重要，以至于任何讲故事的人几乎不可能完全脱离它们。
But the further my investigation proceeded, the more clearly two things emerged. The first was that there are indeed a small number of plots which are so fundamental to the way we tell stories that it is virtually impossible for any storyteller ever entirely to break away from them.
第二个是，我们越熟悉故事表面之下的这些塑造形式和力量的本质，将它们推向超出故事讲述者意识控制的模式和方向，我们就越发现我们正在进入一个领域事实证明，对情节本身的认识只是通往这一目标的大门。事实上，我们正在揭示一种隐藏的、通用的语言：情景和人物的核心，而这些正是故事的构成材料。一旦我们熟悉了这种象征性语言，并开始领会其非凡的意义，世界上几乎没有什么故事不能以新的眼光来看待：因为我们已经了解了故事的核心内容以及为什么我们告诉他们。
The second was that, the more familiar we become with the nature of these shaping forms and forces lying beneath the surface of stories, pushing them into patterns and directions which are beyond the storyteller’s conscious control, the more we find that we are entering a realm to which recognition of the plots themselves proves only to have been the gateway. We are in fact uncovering nothing less than a kind of hidden, universal language: a nucleus of situations and figures which are the very stuff from which stories are made. And once we become acquainted with this symbolic language, and begin to catch something of its extraordinary significance, there is literally no story in the world which cannot then be seen in a new light: because we have come to the heart of what stories are about and why we tell them.
人们认为各种基本主题和情境似乎通过人类讲故事而重复出现，这并不是什么新鲜事。我将以一种技术性的说明来结束本介绍，简要介绍过去两个世纪以来，一系列作家、人类学家、学者和心理学家如何从许多不同的角度解决这个难题，并试图解释为什么在世界各地不同文化的文学、民间故事和神话中都应该找到相同的基本故事类型。
The perception that various basic themes and situations seem to recur through human storytelling is scarcely a new one. I shall end this introduction with a kind of technical note giving a brief background to how, over the past two centuries, a succession of writers, anthropologists, scholars and psychologists have approached this puzzle from many different angles, as they tried to explain why the same basic types of story should be found in the literature, folk tales and myths of different cultures all over the world.
然而，本书以一种与之前有关该主题的任何著作截然不同的方式讲述故事的方式在于，它在同一层面上看待所有类型的故事讲述。我们在这里不仅仅关注被视为“严肃”文学的著名戏剧和小说。我们将研究可以想象到的各种类型的故事：从古代美索不达米亚和希腊的神话到詹姆斯·邦德和星球大战；从中欧民间故事到《外星人》和《第三类接触》；从 PG 伍德豪斯到普鲁斯特；从马克思兄弟到萨德侯爵和德州电锯大屠杀；从圣经故事《约伯记》到奥威尔的《十九八十四》; 从埃斯库罗斯的悲剧到夏洛克·福尔摩斯；从瓦格纳的歌剧到音乐之声；从但丁的《神曲》到《四个婚礼和一个葬礼》。这是因为，当我们深入了解我们想象故事的冲动的根源时，关于这一点，我们看到，实际上没有一种故事，无论多么严肃或多么琐碎，最终不是来自同一个源头：不是由相同的原型规则塑造的，不是由相同的通用语言编织而成的。
Where this present book approaches storytelling in a quite different way from anything written on this subject before, however, is the extent to which it looks at all kinds of storytelling on the same level. We are not concerned here just with the well-known plays and novels of what is regarded as ‘serious’ literature. We shall be looking at every type of story imaginable: from the myths of ancient Mesopotamia and Greece to James Bond and Star Wars; from central European folk tales to E.T. and Close Encounters of the Third Kind; from P. G. Wodehouse to Proust; from the Marx Brothers to the Marquis de Sade and The Texas Chainsaw Massacre; from the Biblical story of Job to Orwell’s Nineteen Eighty-Four; from the tragedies of Aeschylus to Sherlock Holmes; from the operas of Wagner to The Sound of Music; from Dante’s Divine Comedy to Four Weddings and a Funeral. This is because, when we penetrate to the root of what our impulse to imagine stories is really about, we see there is in fact no kind of story, however serious or however trivial, which does not ultimately spring from the same source: which is not shaped by the same archetypal rules and spun from the same universal language.
然而，为了最终能够以正确的视角看待这一切，还需要经历一段漫长而复杂的旅程。在我们出发之前，我应该制定一个简短的路线图，以便清楚地了解探索的不同阶段如何相互构建以实现最终目标。
To arrive at the point where all this can be finally seen in proper perspective, however, it is necessary to travel on a long and complex journey. And before we embark I should set out a brief route-map, so that it will become clear how the different stages of that exploration build on each other in working towards the eventual goal.
本书分为四个部分。
This book is divided into four parts.
第一部分“通往地狱的七个门户”依次审视了七个“基本情节”。乍一看，每一个都非常有特色。但当我们研究这个序列时，我们逐渐发现它们如何具有某些关键的共同点；以及每个人实际上如何针对讲故事的核心相同的核心问题提出自己的独特观点。
Part one, ‘The Seven Gateways To The Underworld’, examines each of the seven ‘basic plots’ in turn. At first sight, each is quite distinctive. But as we work through the sequence, we gradually come to see how they have certain key elements in common; and how each is in fact presenting its own particular view of the same central preoccupation which lies at the heart of storytelling.
第二部分“完整的幸福结局”更全面地审视所有这些主要故事类型的共同点。特别是我们发现，故事不仅有基本情节，还有通过各种故事重新出现的基本人物阵容，每个人物都有自己的定义特征。当我们探索每个原型人物所代表的价值观以及它们之间的关系时，这为讲故事最终涉及的基本戏剧开辟了一个全新的视角。但我们也开始看到，在任何故事都能得到完全解决的结局之前，必须满足某些条件。这导致第三部分对控制故事在人类思维中形成方式的所有因素中最具启发性的因素之一进行调查。
Part two, ‘The Complete Happy Ending’, looks more generally at what all these main story-types have in common. In particular we find that there are not only basic plots to stories but a cast of basic figures who reappear through stories of all kinds, each with their own defining characteristics. As we explore the values which each of these archetypal figures represents, and how they are related, this opens up an entirely new perspective on the essential drama with which storytelling is ultimately concerned. But we also come to see how there are certain conditions which must be met before any story can come to a fully resolved ending. This leads on in Part three to an investigation of one of the most revealing of all the factors which govern the way stories take shape in the human mind.
本书的第三部分“错过了标记”，几乎完全集中于过去 200 年的故事，探讨了在讲故事者的想象中，故事如何以及为何可能“出错”；或者，正如我们所说，“失去情节”。本书的前两部分主要关注那些故事，这些故事以一种使故事能够得到完全解决和令人满意的结局的方式表达了它们背后的原型模式。在本书的第三部分中，我们看到在过去的两个世纪中，西方世界的故事讲述方式如何发生了一些非同寻常且意义重大的事情。我们在这里不仅要看到一个如此明显的问题，即为什么近年来讲故事应该表现出对性和暴力如此明显的痴迷。当我们观察每一个基本情节是如何发展出所谓的“黑暗”和“感伤”版本时，我们看到一种特定的瓦解元素是如何渗透到现代故事讲述中的，这将其与历史上的任何故事区分开来。但这反过来仅仅揭示了故事如何在人类想象中形成的最显着特征之一；因为我们还看到，自历史诞生以来，那些支配讲故事的典型规则从未改变过。事实上，这些“异常”的故事不仅遵循相同的规则，而且还遵循相同的规则。它们甚至本身就提供了所有线索，让我们了解出了什么问题，以及为什么它们不能达到完全令人满意的结局。因此，它们向我们展示了在我们文化的集体心理中，这种瓦解因素是如何以及为何会出现的。
The third part of the book, ‘Missing the Mark’, which concentrates almost entirely on stories from the last 200 years, explores how and why it is possible, in a storyteller’s imagination, for a story to ‘go wrong’; or, as we say, ‘lose the plot’. The first two parts of the book have been primarily concerned with those stories which express the archetypal patterns underlying them in a way which enables them to come to a fully resolved and satisfactory ending. In the third section of the book we see how, in the past two centuries, something extraordinary and highly significant has happened to storytelling in the western world. Not only do we look here at such an obvious question as why in recent times storytelling should have shown such a marked obsession with sex and violence. As we look at how each of the basic plots has developed what may be called its ‘dark’ and ‘sentimental’ versions, we see how a particular element of disintegration has crept into modern storytelling which distinguishes it from anything seen in history before. But this in turn merely reveals one of the most remarkable features of how stories take shape in the human imagination; because we also see how those archetypal rules which have governed storytelling since the dawn of history have in no way changed. In fact these ‘aberrant’ stories not only obey the same rules; they even in themselves provide all the clues to understanding what has gone amiss, and why they cannot come to fully satisfactory endings. They thus show us just how and why in the collective psyche of our culture this element of disintegration should have arisen.
本书第三部分的最后一章讲述了西方想象中最令人困惑的两个故事：索福克勒斯的《俄狄浦斯王》和莎士比亚的《哈姆雷特》。直到此时，我们才终于完成了研究最深刻问题所必需的基础工作。到底为什么在我们的生物进化过程中，我们的物种发展出了在我们的头脑中创造这些图像模式的能力？它的真正目的是什么？故事与我们所谓的“现实生活”有何关系？
This third part of the book ends with a chapter on what are arguably the two most centrally puzzling stories produced by the Western imagination, Sophocles’s Oedipus Tyrannos and Shakespeare’s Hamlet. Only at this point have we at last completed the groundwork which is necessary to looking at the deepest questions of all. Just why in the course of our biological evolution has our species developed the capacity to create these patterns of images in our heads? What real purpose does it serve? And how do stories relate to what we call ‘real life’?
这些是我们在本书的第四部分也是最后一部分“我们为什么讲故事”中讨论的问题，该部分以两种我们以前从未看过的非常重要的故事类型开始。这将有关世界创造和“从纯真堕落”的神话与人类意识的进化以及我们与自然和本能的关系联系起来。在解开这些谜团的过程中，我们看到的是故事的隐藏语言如何以及为何为我们提供了人性和人类行为的内在动力的图景，而没有其他任何东西可以如此客观地权威地向我们呈现。我们看到，正确理解我们为什么讲故事如何为人类存在的几乎各个方面提供非凡的新视角：我们的心理；关于道德；关于历史和政治的模式，以及宗教的本质；关于我们个人生活的基本模式和目的。
These are the questions we look at in the fourth and final section of the book, ‘Why We Tell Stories’, which begins with two very significant types of story which we have not looked at before. This relates myths about the creation of the world and the ‘fall from innocence’ to the evolution of human consciousness and our relations with nature and instinct. In unravelling these riddles, what we see is how and why the hidden language of stories provides us with a picture of human nature and the inner dynamics of human behaviour which nothing else can present to us with such objective authority. We see how a proper understanding of why we tell stories sheds an extraordinary new light on almost every aspect of human existence: on our psychology; on morality; on the patterns of history and politics, and the nature of religion; on the underlying pattern and purpose of our individual lives.
最后两章是书中最长的一章，试图利用我们所学到的有关讲故事的知识来重新解释自文明诞生以来人类的心理演变。第一部《神与人》讲述了从拉斯科洞穴壁画到法国大革命和浪漫主义兴起的故事。最后一章讲述了从 19 世纪和 20 世纪至今的故事，以电影版《指环王》和 2003 年第二次海湾战争结束。有史以来最伟大的故事，柏拉图的洞穴寓言。
The last two chapters, the longest in the book, attempt to use all we have learned about storytelling to reinterpret the psychological evolution of mankind since the dawn of civilisation. The first, ‘Of Gods And Men’, takes the story from the cave-paintings of Lascaux up to the French Revolution and the rise of Romanticism. The final chapter takes the story through the nineteenth and twentieth centuries up to the present day, ending with the film-version of The Lord of the Rings and the second Gulf War of 2003. The book then ends with a brief epilogue touching on one of the greatest stories ever written, Plato’s Parable of the Cave.
当我们探讨讲故事的真正原因时，我希望我已经传达了一些信息，说明为什么地球上人类几乎没有什么更重要的奥秘有待解开。
By the time we have reached this point in exploring the real reasons why we tell stories, I hope I shall have conveyed something of why there can be few more important mysteries left for humanity to unravel on this earth.
为什么世界各地都会出现类似的故事？关于此问题的先前方法的历史记录
WHY DO SIMILAR STORIES APPEAR ALL OVER THE WORLD? A HISTORICAL NOTE ON PREVIOUS APPROACHES TO THIS QUESTION
最早的例子出现在 18 世纪末詹姆斯·博斯韦尔 (James Boswell) 为塞缪尔·约翰逊 (Samuel Johnson) 博士撰写的传记中，作者发现类似的故事和情况在文学中随处可见。在约翰逊一生中谈到过但从未抽出时间完成的那些令人心酸的项目中，一位朋友向博斯韦尔回忆起这位伟人曾经提到过他打算写一本书来展示（用引述在文章开头的话）本序言）：
The earliest instance which has come to light of an author observing that similar stories and situations may be found throughout literature appears in the late eighteenth century, in James Boswell’s biography of Dr Samuel Johnson. In one of those poignant references to projects which Johnson talked of during his life but never got round to completing, a friend recalled to Boswell how the great man had once mentioned his intention to write a book showing (in the words quoted at the beginning of this Prologue):
“世界上真正的小说数量是多么少；相同的图像，几乎没有变化，已经为所有曾经写作过的作者服务过。
‘how small a quantity of REAL FICTION there is in the world; and that the same images, with very little variation, have served all the authors who have ever written.’
约翰逊博士是他那个时代最博览群书的人之一。他几乎熟悉所有现存的古典文学，更不用说文艺复兴以来大部分优秀的戏剧和小说了（至少是英语的）。显然，他敏锐而广阔的头脑被故事中不断出现的某些图像和场景所震惊，他希望有一天能够更系统地思考这个问题。唉，他只给我们留下了一条诱人的线索，让我们知道他的观察可能会让他走多远。
Dr Johnson was one of the best-read men of his age. He was familiar with virtually the whole of the surviving literature of classical times, not to mention most of the outstanding plays and novels written since the Renaissance (at least in English). It seems clear that his sharp and capacious mind had been so struck by the constant recurrence of certain images and situations in storytelling that he hoped one day to think about the matter more systematically. Alas, he leaves us with nothing more than this tantalising clue as to how far his observations might have taken him.
另一位与约翰逊几乎同时代的博学多才的人是歌德（Goethe，1749-1832），他的思想似乎也转向了同样的方向，他在《与埃克曼的对话》中多次触及同一问题：最值得注意的是自此以后经常被引用的一句话：
Another well-read near-contemporary of Johnson’s whose thoughts seem to have turned in the same direction was Goethe (1749-1832), who several times in his Conversations With Eckermann touches on the same question: most notably in the remark often quoted since:
戈齐坚持认为，戏剧性的情况只能有三十六种；席勒煞费苦心地寻找更多，但还是找不到像戈齐那样多的东西。2
‘Gozzi maintained that there can be but thirty-six dramatic situations; Schiller took great pains to find more, but was unable to find even as many as Gozzi.’2
然后，在十九世纪下半叶，越来越多的人类学家、民族学家和民俗学者从另一个方向惊人地发现，同样的主题和主题在古代神话和民间故事中出现的程度。全世界。不仅如此，正如詹姆斯·弗雷泽爵士在《金枝》（1890）中所表明的那样，不同文化的核心宗教神话之间存在着显着的相似之处，例如死亡和重生的神的观念（早在 1871 年乔治艾略特《米德尔马契》中的卡苏邦先生一直致力于“一部伟大的作品”，以表明“世界上所有的神话系统或不稳定的神话片段都是最初揭示的传统的腐败”：同样，我们没有得到任何关于卡苏朋为何会出现的线索。这样的观念）。真正令人吃惊的是，孜孜不倦的民间故事收藏家现在遇到了来自文化和地理相距甚远的地方出现的同一基本故事的版本，以至于这些故事似乎不再可能仅来自一个原始来源。从塞尔维亚到设得兰群岛，从俄罗斯到西班牙，整个欧洲都可以找到“灰姑娘故事”的变体，这是一回事；至少所有这些国家确实拥有一些共同的文化和语言传统。但当同一个故事以不同的形式被发现时
Then, from quite another direction, in the second half of the nineteenth century, came the startling discovery by the growing army of anthropologists, ethnologists and students of folklore of the extent to which the same themes and motifs appeared through the myths and folktales of the entire world. It was not just that, as Sir James Frazer showed in The Golden Bough (1890), there were remarkable similarities in the central religious myths of different cultures, such as the idea of the god who dies and is reborn (as early as 1871 George Eliot’s Mr Casaubon in Middlemarch had been engaged on ‘a great work’ to show that ‘all the mythical systems or erratic mythical fragments in the world were corruptions of a tradition originally revealed’: again, we are not given the slightest clue as to why Casaubon might have come to such a notion). The really startling thing was that the assiduous collectors of folktales were now coming across versions of the same basic story cropping up from places culturally and geographically so far apart that it no longer seemed possible that such stories could have sprung from just one original source. It was one thing for variants of, say, the ‘Cinderella story’ to be found all over Europe, from Serbia to the Shetlands, from Russia to Spain; at least all these countries did share some common cultural and linguistic traditions. But when the same story was found, in different guises, in China, in Africa and among the North American Indians, it was clear that its ubiquity could no longer be explained simply in terms of cultural contact, or of a common historical source, however archaic.
那么这些故事是从哪里来的呢？许多十九世纪末作家的回应之一是，所有这些故事、神话和传说都只是试图解释和戏剧化全人类所熟悉的自然现象。一种流行的理论，特别是与语言学家弗里德里希·马克斯·穆勒（Friedrich Max Muller，1823-1900）认为，神的死亡和重生的故事是“太阳神话”，描述太阳的落下和升起。有人认为，流传甚广的女主人公被怪物吃掉的民间故事一定与日食期间太阳被月亮“吃掉”有关。还有人认为，世界各地发现的“龙”和“怪物”的故事起源于恐龙骨头的发现。但这些理论完全不足以解释令人惊讶的普遍性，不仅是故事本身，而且往往是表达故事的微小细节——尽管这些“自然隐喻”论证的更复杂版本已经在更多方面提出。最近，加拿大学者诺斯罗普·弗莱 (Northrop Frye) 等作家尝试在他的批评的剖析，将悲剧和喜剧的基本形式与一年中自然循环中的“死亡与复活”主题联系起来（冬天让位于春天，等等）。
So where did the stories come from? One response of many of these late-nineteenth century writers was to suggest that somehow all these stories, myths and legends were simply attempts to explain and to dramatise natural phenomena, familiar to all mankind. One popular theory, particularly associated with the philologist Friedrich Max Muller (1823–1900) was that stories of the god who dies and is reborn were ‘solar myths’, describing the setting and rising of the sun. It was suggested that the widespread folktales in which a heroine is eaten by a monster must have had something to do with the sun being ‘eaten’ by the moon in the course of an eclipse. Others held that the tales of ‘dragons’ and ‘monsters’ found all over the world originated in the discovery of dinosaur bones. But such theories were wholly inadequate to explain the astonishing universality, not just of the stories themselves, but often of the tiny details by which they were expressed – even though a more sophisticated version of these ‘metaphors for nature’ arguments has been advanced in more recent times by writers like the Canadian academic Northrop Frye, who attempted in his Anatomy of Criticism to relate the underlying forms of Tragedy and Comedy to the theme of ‘death and resurrection’ in the natural cycle of the year (Winter giving way to Spring, and so forth).
第二种回应在民俗学专家中特别流行，它实际上是说，对于某些故事形式的普遍存在，根本没有令人满意的、包罗万象的解释。自维多利亚时代以来，数百种不同文化的民间故事之间的相似之处和联系的积累已成为一项重要的学术产业。仅“灰姑娘的故事”就已收集了 1000 多个版本。学者们所说的“文献”现在在整个图书馆里都比比皆是——充满了诸如“灰姑娘、猫皮和奥鲁什角的三百四十五种变体，摘要和列表，以及对中世纪类似物和注释的讨论”之类的物品。 ; 或“汤姆-蒂特-托特”：Aarne-Thompson 500 型比较论文——助手的名字；或“根据两百六十七个版本对焦油宝宝故事的基本版本进行新分类”。当然，民俗学家已经确定，通过文化接触传播故事的历史过程比乍一看要复杂得多。例如，十九世纪初德国农民向格林兄弟讲述的故事可以追溯到一千多年前的印度，通过贸易路线或十字军东征时期进入欧洲，并被广泛传播。其间被无数不同的故事讲述者不断地修改。近代在非洲和亚洲收集的作为“本土民间故事”的故事可以追溯到格林兄弟，
A second response, particularly popular among the experts on folklore themselves, has been to say in effect that there is simply no satisfactory, all-embracing explanation for the ubiquity of certain story-forms. Since Victorian times, the accumulation of parallels and links between the folk tales of hundreds of different cultures has turned into a major academic industry. Well over 1000 versions have been collected of the ‘Cinderella story’ alone. The ‘literature’, as scholars call it, now abounds in whole libraries – full of such items as ‘Three Hundred and Forty Five Variants of Cinderalla, Catskin and Cap O’Rushes, abstracted and tabulated, with discussion of Mediaeval Analogues and Notes’; or ‘Tom-Tit-Tot: A Comparative Essay on Aarne-Thompson Type 500 – The Name of the Helper’; or ‘A New Classification of the Fundamental Version of the Tar Baby Story on the basis of Two Hundred and Sixty Seven Versions’. Certainly the folklorists have established that the spreading of tales through cultural contact has been a far more complex process through history than might at first seem conceivable. Stories told to the Grimm brothers by German peasants in the early nineteenth century, for instance, have been traced back to Indian sources dating from well over a thousand years before, having entered Europe via trading routes or at the time of the Crusades, and been endlessly reworked by countless different storytellers in between. Stories collected in Africa and Asia in modern times as ‘indigenous folk tales’ have been traced back in turn to the Grimms, having been passed on by missionaries and dressed up in local clothing.
但揭露这种复杂性的一个后果是，这些忙碌的收藏家被他们所积累的珠穆朗玛峰材料所淹没，以至于他们最终绝望地发现任何真正可能解释这一切的理论：可能辨别人类的共同点心理学不仅解释了这些故事的起源及其反复出现的特征，而且同样重要的是，它们对几代人、生活在完全不同的文化环境中的数百万外表截然不同的人的持续吸引力。用 Peter 和 Iona Opie 的话说：
But one consequence of uncovering such complexities is that these busy collectors have been so overwhelmed by the Everest of material they have accumulated that they have finally despaired of finding any theory that actually might make sense of it all: that might discern a common ground in human psychology to account not just for the origin of the tales and their recurring features but also, just as important, for their continuing appeal through many generations to millions of outwardly quite different people, living in quite different cultural circumstances. In the words of Peter and Iona Opie:
“令人高兴的是，这种包罗万象的理论现在受到了怀疑。人们不再认为任何一种理论都能够令人满意地解释大多数问题故事。它们的泉源肯定是众多的……它们的含义——如果它们有含义的话——被认为是多种多样的。现在人们相信，每个故事都应该单独研究。3
‘Happily such all-embracing theories are now regarded with scepticism. It is no longer felt that any one theory is likely to account satisfactorily for even the majority of the tales. Their well-springs are certainly numerous ... their meanings – if ever they had meanings – are thought to be diverse. Each tale, it is now believed, should be studied separately.’3
不再需要考虑这些困难的事情，松了一口气，几乎可以听见！然而，根本的谜团仍然存在。
The sigh of relief that one no longer has to think about such difficult matters is almost audible! However, the fundamental riddle remains.
实际上，一个多世纪前，德国民族学家阿道夫·巴斯蒂安（Adolf Bastian，1826-1905）首次提出了这样的理论：人类的思维似乎是这样构成的，因此它自然地以某种形式运作。或凹槽，并围绕某些基本图像。他解释了他在他研究的原始文化的神话和民间故事中发现的相似之处，认为这些故事是基于他所谓的elementargedenken或“基本思想”，而这些故事在某种程度上源于人类心理的本质。 ，因此是全人类的共同点。
A rather deeper approach to this whole problem in fact began to emerge more than a century ago when the German ethnologist Adolf Bastian (1826–1905) first put forward the theory that the human mind seems to be so constituted that it naturally works in certain forms or grooves, and round certain basic images. He accounted for the similarities he had discovered in the myths and folk tales of the primitive cultures he had studied by suggesting that such stories were based on what he called elementargedenken or ‘elemental ideas’, which somehow derive from the very nature of the human psyche, and which therefore all human beings have in common.
几年后，西格蒙德·弗洛伊德 (Sigmund Freud) 在 1890 年代开始提出，人类的大量行为可以通过以下事实来解释：我们的心理活动的很大一部分位于我们称为无意识的心灵部分，位于意识之下。我们意识的阈值。我们意识到这一点存在的最明显的方式之一是通过我们的梦，梦自发地向我们呈现一系列图片，就像故事的片段，而我们无法以任何方式有意识地干预控制其内容。当然，弗洛伊德对他观察到的梦的内容和某些神话主题之间的相似之处感到特别震惊。
It was some years later that Sigmund Freud, in the 1890s, began to suggest that a great deal of human behaviour could be explained by the fact that enormous areas of our psychic activity lie in that part of the mind we call the unconscious, below the threshold of our conscious awareness. One of the most obvious ways in which we become aware of the existence of this is through our dreams, which spontaneously present to us sequences of pictures, like fragments of stories, without our being able to intervene consciously in controlling their contents in any way. And Freud was, of course, particularly struck by the parallels he observed between the contents of dreams and the themes of certain myths.
也许在某种程度上，这些神话与我们无意识地感知世界的方式的基础有关：与我们作为个体的心理发展的内在模式有关？当然，著名的“俄狄浦斯三角”的例子，即孩子为了令人满意地应对父母巨大的、遮蔽性的心灵存在而进行的长期斗争，似乎表明了一个古老的神话和无数现代人的经历之间的显着对应。似乎在很大程度上源于建立自己健康、独立的心理身份道路上的这一主要障碍。也许神话和民间传说的所有其他主题都可以用同样的弗洛伊德视角来看待，如“贪婪的母亲”（汉塞尔和格蕾特）的故事，“阉割恐惧”（折断的剑）或“逃离子宫”（约拿和鲸鱼）。毕竟，这肯定是将故事与人类普遍经历的事情联系起来：我们的性行为、我们最基本的人际关系、我们对出生的记忆和对死亡的恐惧。在过去的 100 年里，人们进行了无数次尝试以这种方式解释神话、民间故事和其他故事，从欧内斯特·琼斯 (Ernest Jones) 分析《哈姆雷特》作为俄狄浦斯三角的另一个例子的文章到布鲁诺·贝特尔海姆 (Bruno Bettelheim) 博士的文章《魔法的用途》（The Uses of Enchantment，1976）分析了古老童话故事对当今儿童的吸引力和价值的原因。
Perhaps in some way such myths were related to the very basis of the way we unconsciously perceive the world: to the inner patterns of our psychic development as individuals? Certainly the celebrated example of the ‘Oedipal triangle’, the perennial battle of the child to cope satisfactorily with the vast, overshadowing psychic presence of its parents, seemed to show a remarkable correspondence between an ancient myth and the experience of countless modern individuals whose problems seemed in large part to derive from this major hurdle on the road to establishing their own healthy, independent psychic identity. Perhaps all the other motifs of myth and folklore could be seen in the same Freudian light, as stories of ‘rapacious mothers’ (Hansel and Gretel), ‘castration fears’ (the sword which breaks) or the ‘escape from the womb’ (Jonah and the whale). After all, this was certainly relating stories to something universally experienced by mankind: our sexuality, our most fundamental human relationships, our memories of birth and fears of death. Over the past 100 years innumerable attempts have been made to interpret myths, folk tales and other stories in this way, from Ernest Jones’s essay analysing Hamlet as another example of the Oedipal triangle to Dr Bruno Bettelheim’s The Uses of Enchantment (1976) analysing the reasons for the appeal and value of the old fairy tales to the children of today.
但作为对故事的全面解释，这种方法似乎还远远不够：甚至在许多情况下也受到了奇怪的限制。无论我们与父母的关系或我们的性行为多么普遍和重要，这肯定不是对世界各地神话和故事的复杂结构及其无数形式的全部解释吗？难道没有更深的层次可以找到这些故事的意义：不一定是完全拒绝弗洛伊德解释的层次，而是超越它的层次，反映了一些更深刻、更普遍的东西？
But still, as a comprehensive explanation of stories, such an approach seemed far from adequate: even in many instances grotesquely limited. However universal and important our relations with our parents or our sexuality may be, this surely was not the whole explanation of the complex structure of myths and tales all over the world, in all their myriad guises? Was there not a yet deeper level at which the meaning of these tales might be found: not necessarily one which rejected the Freudian explanation in its entirety, but one which transcended it, reflecting something much deeper and more universal altogether?
当我通过对故事背后的基本情节进行初步研究而第一次接触到这个主题时，我发现在过去的 70 年里，另一种更基本的神话和民间故事方法已经出现，它与我所掌握的更接近。开始认识到故事的真实本质。我自己的方法在很大程度上源于这一传统，它帮助我更清楚地理解有关故事的各种事情，我什至不会尝试在这里总结它，因为它隐含在本书的大部分内容中。接下来，在某些适当的时候，我希望我能明确说明这一债务。
When I first came to this subject through my initial researches into the basic plots underlying stories, I discovered that in the previous 70 years yet another, much more fundamental, approach to myths and folk tales had been emerging which corresponded more closely to what I had begun to recognise as the real nature of stories. So much does my own approach lie in this tradition, and so much did it help me to understand all sorts of things about stories more clearly, that I will not even attempt to summarise it here, since it is implicit in much of the book which follows, and at certain points, where appropriate, I hope I shall make that debt explicit.
可以说，这一传统在很多方面都建立在一个多世纪前巴斯蒂安的第一个感知之上，即人类的想象力似乎是这样构成的，它自然地围绕某些“基本”形状和图像发挥作用；根据弗洛伊德和其他人的进一步见解，为了解释人类行为中最重要的大部分内容，我们必须研究我们无法直接意识到的心理部分，因为它们低于我们的直接意识。但是，弗洛伊德只专注于图像的一部分，即性和个人心理问题，而他的瑞士同事卡尔·荣格则转向更广泛的问题，即在更深的层面上，我们所有人的心理是如何构建的同样的基本方式。我们所有人，在更深层次上，
Suffice it to say that this tradition has in many ways built on that first perception by Bastian, over a century ago, that the human imagination seems to be so constituted that it naturally works round certain ‘elemental’ shapes and images; and on the further insight of Freud and others that, for an explanation of a great deal of what is most significant in human behaviour we must look into those parts of the psyche of which we cannot be directly aware, because they are below the threshold of our immediate consciousness. But whereas Freud became preoccupied with just a part of the picture, with sexuality and with the problems of the individual psyche, his Swiss colleague Carl Jung moved on to the much wider question of how, at a deeper level, we are all psychologically constructed in the same essential way. We all, at that deeper level, have the same psychological makeup, in much the same way as we are all genetically ‘programmed’ to grow physically: and it is only on, as it were, the more superficial levels of our psyche that our individuality emerges, and that each of us finds our own individual problems in coping with the ‘programme’ of development that our deeper unconscious has laid down for us.
如果我们要解释为什么某些图像、符号和塑造形式在故事中反复出现的程度远远大于仅用文化传播所能解释的程度，那么我们必须首先关注我们所有人都拥有的更深层次的无意识。常见，作为我们基本遗传的一部分。这些工作围绕着荣格所谓的“原型”：“我们的心灵电流自然流过的古老河床”；只有在原型结构的这个层面上，才能找到讲故事背后的模式的基本意义和目的。
If we are looking for an explanation of why certain images, symbols and shaping forms recur in stories to an extent far greater than can be accounted for just by cultural transmission, we must look first to those deeper levels of the unconscious which we all have in common, as part of our basic genetic inheritance. These work around what Jung called ‘archetypes’: ‘the ancient river beds along which our psychic current naturally flows’; and it is only on this level of the archetypal structures that the basic meaning and purpose of the patterns underlying storytelling can be found.
当然，荣格本人写了很多关于神话和民间故事的作品，他的许多追随者也写了很多关于神话和民间故事的作品，比如玛丽·路易丝·冯·弗朗茨。另一位作者通常在美国人约瑟夫·坎贝尔也有同样的传统，他在《千面英雄》和《上帝的面具》中试图将大量此类故事讲述与他所谓的“单一神话”联系起来，这是一种普遍的故事，其中个别的神话和故事只是呈现不同的方面。其他作家也扩展了这种一般方法，以吸收我们文化中一些更知名的文学作品，就像诺斯罗普·弗莱（Northrop Frye）在《批评的解剖》（Anatomy of Criticism）中和莱斯利·费德勒（Leslie Fiedler）在《美国小说中的爱与死亡》中所做的那样。，在接下来的几页中引用。我无法在总结对那些我认为很有启发性的作家的简短总结时，提到一位比这些人知名度低得多的作家约翰·维维安（John Vyvyan），他的小书《莎士比亚伦理》不仅试图将这种分析扩展到莎士比亚的一些戏剧，但也是我读过的关于莎士比亚最原创的书。
Jung himself, of course, wrote much about myths and folk tales, as have many of his followers, such as Marie-Louise von Franz. Another author generally in the same tradition was the American Joseph Campbell who attempted in The Hero With a Thousand Faces and The Masks of God to relate an enormous amount of such storytelling to what he called ‘the monomyth’, a kind of universal story of which individual myths and tales merely present different aspects. Other authors have extended this kind of general approach to take in some of the better-known literary works of our culture, as did Northrop Frye in his Anatomy of Criticism and Leslie Fiedler in Love and Death In The American Novel, cited in the pages which follow. And I cannot conclude this brief summary of writers whose work I found illuminating without referring to an author much less well-known than any of these, John Vyvyan, whose little book The Shakespearean Ethic was not only an attempt to extend this kind of analysis to some of Shakespeare’s plays, but is also the most original book about Shakespeare I have ever read.
然而，以一种让我们最终能够从全新的角度看待讲故事的活动的方式拓宽这些方法的关键出发点是认识到所有类型的故事，无论多么深刻或多么琐碎，最终都会产生它们来自同一源头，围绕相同的基本模式而形成，并受相同的隐藏的、普遍的规则支配。
The crucial point of departure, however, widening out these approaches in a way which allows us at last to see the activity of telling stories from a wholly new perspective, is the recognition that all kinds of story, however profound or however trivial, ultimately spring from the same source, are shaped around the same basic patterns and are governed by the same hidden, universal rules.
第一部
通往冥界的七扇大门
Part One
The Seven Gateways to the Underworld
“当我们一开始打算建造时，
‘When first we mean to build,
我们首先勘测地块，然后绘制模型。”
We first survey the plot, then draw the model.’
第一部分序言
Prologue to Part One
想象一下我们即将陷入一个故事——世界上任何一个故事。舞台上帷幕升起。电影院变暗了。我们转向小说的第一段。叙述者说出了古老的公式“很久以前……”
Imagine we are about to be plunged into a story – any story in the world. A curtain rises on a stage. A cinema darkens. We turn to the first paragraph of a novel. A narrator utters the age-old formula ‘Once upon a time...’
从表面上看，人类的想象力是无限的，故事讲述者的指挥范围也是无限的，我们可能会认为接下来任何事情都可能发生。
On the face of it, so limitless is the human imagination and so boundless the realm at the storyteller’s command, we might think that literally anything could happen next.
但事实上，我们甚至在故事开始之前就可以确定我们已经了解了某些事情。
But in fact there are certain things we can be pretty sure we know about our story even before it begins.
首先，故事很可能会有一个英雄，或一个女英雄，或两者兼而有之：一个或多个中心人物，我们对故事的兴趣最终取决于他们的命运；正如我们所说，我们可以认同的人。
For a start, it is likely that the story will have a hero, or a heroine, or both: a central figure, or figures, on whose fate our interest in the story ultimately rests; someone with whom, as we say, we can identify.
我们在一个想象的世界中认识了我们的英雄或女英雄。简要或详细地设定了总体场景。“从前……”这个公式的目的，无论讲故事的人是否明确使用它，都是为了带我们离开当前的地点和时间，进入故事即将展开的想象领域，并向我们介绍我们要认同的中心人物。
We are introduced to our hero or heroine in an imaginary world. Briefly or at length, the general scene is set. The purpose of the formula ‘Once upon a time ...’, whether the storyteller uses it explicitly or not, is to take us out of our present place and time into that imaginary realm where the story is to unfold, and to introduce us to the central figure with whom we are to identify.
然后发生了一些事情：一些事件或遭遇促成了故事的行动，给了它一个焦点。事实上，故事的开头是由一种双重公式控制的：“从前有一个这样那样的人，住在这样那样的地方……然后，有一天，发生了一些事情”。
Then something happens: some event or encounter which precipitates the story’s action, giving it a focus. In fact the opening of the story is governed by a kind of double formula: ‘once upon a time there was such and such a person, living in such and such place ... then, one day, something happened’.
我们认识了一个名叫阿拉丁的小男孩，他住在中国的一座城市……然后有一天，一位巫师到来，并把他带出了城市，来到了一个神秘的地下洞穴。我们遇到了一位苏格兰将军麦克白，他刚刚赢得了对国家敌人的伟大胜利……然后，在回家的路上，他遇到了神秘的女巫。我们遇到了一个叫爱丽丝的女孩，她想知道如何在炎热的夏天自娱自乐……然后突然她看到一只白兔跑过，消失在一个神秘的洞里。我们看到伟大的侦探夏洛克·福尔摩斯坐在贝克街的住所里……然后有人敲门，一位访客进来向他展示他的下一个案件。
We are introduced to a little boy called Aladdin, who lives in a city in China ... then one day a Sorcerer arrives, and leads him out of the city to a mysterious underground cave. We meet a Scottish general, Macbeth, who has just won a great victory over his country’s enemies ... then, on his way home, he encounters the mysterious witches. We meet a girl called Alice, wondering how to amuse herself in the summer heat ... then suddenly she sees a White Rabbit running past, and vanishing down a mysterious hole. We see the great detective Sherlock Holmes sitting in his Baker Street lodgings ... then there is a knock at the door, and a visitor enters to present him with his next case.
这个事件或召唤提供了“召唤”，它将引导英雄或女主人公脱离最初的状态，进入一系列的冒险或经历，这些冒险或经历或多或少会改变他们的生活。
This event or summons provides the ‘Call’ which will lead the hero or heroine out of their initial state into a series of adventures or experiences which, to a greater or lesser extent, will transform their lives.
接下来我们可以确定的是，男女主角所卷入的行动将涉及冲突和不确定性，因为如果没有对两者进行某种程度的衡量，就不可能有一个故事。有英雄的地方也可能有恶棍（事实上，在某些情况下，英雄本人也可能是恶棍）。但即使故事中的人物不一定是“好人”和“坏人”这样黑白分明的对比，但很可能有些人会站在英雄或女英雄一边，作为朋友和盟友，而其他人则会站出来反对他们。
The next thing of which we can be sure is that the action which the hero or heroine are being drawn into will involve conflict and uncertainty, because without some measure of both there cannot be a story. Where there is a hero there may also be a villain (on some occasions, indeed, the hero himself may be the villain). But even if the characters in the story are not necessarily contrasted in such black-and-white terms as ‘goodies’ and ‘baddies’, it is likely that some will be on the side of the hero or heroine, as friends and allies, while others will be out to oppose them.
最后我们会感觉到故事的推动力正在将其带向某种解决方案。每个完整的故事，而不仅仅是一连串片段和印象的碎片，都必须达到高潮，冲突和不确定性通常达到最极端。这会导致之前发生的一切都得到解决，使故事走向结局。在这里，我们看到每个故事，无论是温和的还是强调的，实际上都是如何将其中心人物引向两个方向之一的。正如我们所说，他们要么幸福地结束，带着解放、满足和完成的感觉。或者他们以某种形式的沮丧、沮丧或死亡而不幸结束。
Finally we shall sense that the impetus of the story is carrying it towards some kind of resolution. Every story which is complete, and not just a fragmentary string of episodes and impressions, must work up to a climax, where conflict and uncertainty are usually at their most extreme. This then leads to a resolution of all that has gone before, bringing the story to its ending. And here we see how every story, however mildly or emphatically, has in fact been leading its central figure or figures in one of two directions. Either they end, as we say, happily, with a sense of liberation, fulfilment and completion. Or they end unhappily, in some form of discomfiture, frustration or death.
说故事要么有幸福的结局，要么有不幸的结局似乎是一件很平常的事，以至于人们几乎会犹豫是否要说出来。但不得不说，因为这是故事中最重要的一点。围绕这一事实，围绕使一个故事达到一种或另一种结局所必需的因素，它们在我们的生活中具有非凡的意义。
To say that stories either have happy or unhappy endings may seem such a commonplace that one almost hesitates to utter it. But it has to be said, simply because it is the most important single thing to be observed about stories. Around that one fact, and around what is necessary to bring a story to one type of ending or the other, revolves the whole of their extraordinary significance in our lives.
亚里士多德的《诗学》是为数不多的关于故事的一般性文本之一，该书早在 2000 多年前就尚未完成。亚里士多德首先观察到，一个令人满意的故事——一个用他的话来说，是一个“整体”的故事– 必须有“开始、中间和结束”。亚里士多德在舞台剧的两种主要类型的背景下，首先明确地提请人们注意故事可能导致的两种结局。
One of the few general texts ever to have been written on stories was Aristotle’s Poetics, left unfinished well over 2000 years ago, It was Aristotle who first observed that a satisfactory story – a story which, as he put it, is a ‘whole’ – must have ‘a beginning, a middle and an end’. And it was Aristotle who, in the context of the two main types of stage play, first explicitly drew attention to the two kinds of ending a story may lead up to.
一方面，正如他在《诗学》中所说，有悲惨的故事。在这些故事中，男女主人公的命运通常都是从上升开始，但最终“转向”灾难（希腊语“catastrophe”一词的字面意思是“下风”，即悲剧结束时主人公的命运的下滑）。另一方面，从最广泛的意义上讲，也有喜剧：故事中的男女主人公的事情最初似乎变得越来越复杂，直到他们完全陷入一个死结，似乎无法逃脱。但最终会出现亚里士多德所说的“ peripeteia”或“命运的逆转”。结奇迹般地解开了（法语单词“denouement”就是由此而来），字面意思是“打结”）。男主角、女主角或两者一起获得解放；我们和全世界都可以欢欣鼓舞。
On the one hand, as he put it in the Poetics, there are tragic stories. These are stories in which the hero or heroine’s fortunes usually begin by rising, but eventually ‘turn down’ to disaster (the Greek word catastrophe means literally a ‘down stroke’, the downturn in the hero’s fortunes at the end of a tragedy). On the other hand, there are, in the broadest sense, comedies: stories in which things initially seem to become more and more complicated for the hero or heroine, until they are entangled in a complete knot, from which there seems no escape. But eventually comes what Aristotle calls the peripeteia or ‘reversal of fortune’. The knot is miraculously unravelled (from which we get the French word denouement, meaning literally an ‘unknotting’). Hero, heroine or both together are liberated; and we and all the world can rejoice.
这种划分适用于比“悲剧”和“喜剧”一词所暗示的更大范围的故事。事实上，尽管有一定的限制，这在整个讲故事的领域仍然是正确的。故事的情节是导致男女主角走向“灾难”或“解开”的情节。要么走向挫折，要么走向解放；要么走向死亡，要么走向新生。人们可能会认为，描述这些向下的方式几乎有同样多的方式和向上的道路，因为世界上有个人的故事。然而，我们越仔细地观察古往今来人类想象力所产生的大量故事，我们就越能清楚地看出，故事中有某些不断重复出现的一般形状，决定了英雄或女主人公所走的道路的性质。可能会到达他们的最终目的地。
This division holds good over a much greater range of stories than might be implied just by the terms ‘tragedy’ and ‘comedy’. Indeed, with qualifications, it remains true right across the domain of storytelling. The plot of a story is that which leads its hero or heroine either to a ‘catastrophe’ or an ‘unknotting’; either to frustration or to liberation; either to death or to a renewal of life. And it might be thought that there are almost as many ways of describing these downward and upward paths as there are individual stories in the world. Yet the more carefully we look at the vast range of stories thrown up by the human imagination through the ages, the more clearly we may discern that there are certain continually recurring general shapes to stories, dictating the nature of the road which the hero or heroine may take to their ultimate destination.
我们现在必须关注的是这些基本形状或“基本图”中最重要的部分。
It is at the most important of these underlying shapes or ‘basic plots’ that we must now look.
第1章
战胜怪物
Chapter 1
Overcoming the Monster
“世界各地都有屠杀毁灭性怪物的传说。他们的想法是，被杀的怪物是超自然的，对人类充满敌意。”
‘Legends of the slaughter of a destructive monster are to be found all over the world. The thought underlying them all is that the monster slain is preternatural and hostile to mankind.’
ES Hartland，珀尔修斯传奇(1896)
E. S. Hartland, The Legend of Perseus (1896)
1839 年，一位年轻的英国人亨利·奥斯汀·莱亚德 (Henry Austen Layard) 出发经陆路前往锡兰，即现在的斯里兰卡。在他的旅程中途，当他穿越当时被称为美索不达米亚的荒野沙漠地区时，沙中一系列神秘的土丘引起了他的好奇心。他停下来调查它们，从而开始了考古史上最重要的调查之一。莱亚德偶然发现的竟然是人类最早建造的城市之一——圣经中的尼尼微的遗迹。
In 1839 a young Englishman, Henry Austen Layard, set out to travel overland to Ceylon, the island now known as Sri Lanka. Halfway through his journey, when he was crossing the wild desert region then known as Mesopotamia, his curiosity was aroused by a series of mysterious mounds in the sand. He paused to investigate them, and thus began one of the most important investigations in the history of archaeology. For what Layard had stumbled on turned out to be the remains of one of the earliest cities ever built by humankind, biblical Niniveh.
在接下来的几十年里，尼尼维有了许多令人着迷的发现，但最重要的是 1853 年发现的大量粘土板，上面覆盖着小楔形标记，这些标记显然是某种未知的书写形式。破译这个“楔形文字”文字的任务是花费接下来20年的大部分时间。但 1872 年，当大英博物馆的乔治·史密斯最终公布了他的劳动成果时，维多利亚时代的公众震惊了。其中一组泥板包含一首长篇史诗的片段，其历史可以追溯到文明的黎明，是迄今为止世界上最早的书面故事。
Over the decades which followed, many fascinating discoveries were made at Niniveh, but none more so than a mass of clay tablets which came to light in 1853, covered in small wedge-shaped marks which were obviously some unknown form of writing. The task of deciphering this ‘cuneiform’ script was to take the best part of the next 20 years. But when in 1872 George Smith of the British Museum finally unveiled the results of his labours, the Victorian public was electrified. One sequence of the tablets contained fragments of a long epic poem, Dating back to the dawn of civilisation, it was by far the earliest written story in the world.
苏美尔史诗《吉尔伽美什》第一部分正如我们现在所知，讲述了乌鲁克王国如何陷入巨大而神秘的邪恶的可怕阴影之下。威胁的源头被追溯到一个可怕的人物，洪巴巴，他生活在半个地球的另一边，在一个偏远森林的中心。英雄吉尔伽美什去找军械师，他们为他配备了特殊武器、一把大弓和一把强大的斧头。他踏上了漫长而危险的旅程，前往洪巴巴遥远的巢穴，在那里他终于与怪物面对面。他们享受一系列的嘲讽交流，然后展开一场激烈的斗争。面对这样的神力，吉尔伽美什似乎不可能获胜。但最终，他凭借超人的壮举，杀死了可怕的对手。隐秘的威胁已经解除。吉尔伽美什拯救了他的王国，可以凯旋而归。
The first part of the Sumerian Epic of Gilgamesh, as we now know it, tells of how the kingdom of Uruk has fallen under the terrible shadow of a great and mysterious evil. The source of the threat is traced to a monstrous figure, Humbaba, who lives half across the world, at the heart of a remote forest. The hero, Gilgamesh, goes to the armourers who equip him with special weapons, a great bow and a mighty axe. He sets out on a long, hazardous journey to Humbaba’s distant lair, where he finally comes face to face with the monster. They enjoy a series of taunting exchanges, then embark on a titanic struggle. Against such supernatural powers, it seems Gilgamesh cannot possibly win. But finally, by a superhuman feat, he manages to kill his monstrous opponent. The shadowy threat has been lifted. Gilgamesh has saved his kingdom and can return home triumphant.
1962 年秋天，在《吉尔伽美什》的故事被放入尼尼微图书馆近 5000 年后（这段时期几乎涵盖了整个人类历史），一群时尚人群聚集在伦敦莱斯特广场，观看一部新电影的首映式。诺博士是第一个后来成为的人，在接下来的 40 年里，这是有史以来最受欢迎的系列电影（即使到了 1980 年，据估计已有约 20 亿人（当时接近地球人口的一半）看过詹姆斯·邦德的一部或多部银幕冒险片）。二十世纪末典型的太空时代小玩意、暴力和性的混合体，与构想吉尔伽美什宗教神话的第一批城市居民的原始世界相距甚远的东西似乎很难想象。
In the autumn of 1962, nearly 5000 years after the story of Gilgamesh was placed in the library at Niniveh, a period encompassing almost the whole of recorded human history, a fashionable crowd converged on Leicester Square in London for the premiere of a new film. Dr No was the first of what was to become, over the next 40 years, the most popular series of films ever made (even by 1980 it was estimated that one or more of the screen adventures of James Bond had been seen by some 2 billion people, then nearly half the earth’s population). With their quintessentially late-twentieth century mixture of space-age gadgetry, violence and sex, anything more remote from the primitive world of those inhabitants of the first cities who conceived the religious myth of Gilgamesh might seem hard to imagine.
然而，想想 1962 年那个晚上推出邦德系列电影的故事吧。西方世界陷入了巨大而神秘的邪恶的阴影之下。威胁的源头被追溯到一个可怕的人物，疯狂而畸形的科学家诺博士，他住在半个地球的一个偏远岛屿的地下洞穴里。英雄詹姆斯·邦德去找军械师，军械师为他配备了特殊武器。他踏上了漫长而危险的旅程，前往诺博士遥远的巢穴，在那里他终于与怪物面对面。他们享受一系列的嘲讽交流，然后展开一场激烈的斗争。面对如此近乎超自然的力量，邦德似乎不可能获胜。但最终，他凭借超人的壮举，杀死了可怕的对手。隐秘的威胁已经解除。西方世界得救了。邦德可以凯旋而归。
Yet consider the story which launched the series of Bond films that night in 1962. The Western world falls under the shadow of a great and mysterious evil. The source of the threat is traced to a monstrous figure, the mad and deformed scientist Dr No, who lives half across the world in an underground cavern on a remote island. The hero James Bond goes to the armourer who equips him with special weapons. He sets out on a long, hazardous journey to Dr No’s distant lair, where he finally comes face to face with the monster. They enjoy a series of taunting exchanges, then embark on a titanic struggle. Against such near-supernatural powers, it seems Bond cannot possibly win. But finally, by a superhuman feat, he manages to kill his monstrous opponent. The shadowy threat has been lifted. The Western world has been saved. Bond can return home triumphant.
任何能够在整个人类历史记录中实现如此飞跃的故事，必定在人类的内心生活中具有深刻的象征意义。当然，这对于我们的第一种类型的故事来说是正确的，这个情节可以被称为“克服怪物”。
Any story which can make such a leap across the whole of recorded human history must have some profound symbolic significance in the inner life of mankind. Certainly this is true of our first type of story, the plot which may be called ‘Overcoming the Monster’.
在讲故事的领域里，没有什么比这个可怕的、威胁生命的、看似无所不能的怪物更奇怪或更壮观的了，英雄必须与它进行殊死搏斗。
The realm of storytelling contains nothing stranger or more spectacular than this terrifying, life-threatening, seemingly all-powerful monster whom the hero must confront in a fight to the death.
我们通常在生命的早期就第一次遇到这些非凡的创造物，它们以童话故事中的狼、女巫和巨人的形式出现。小红帽走进大森林去看望她慈祥的奶奶，却发现奶奶已经被恶狼取代了，它唯一的愿望就是吃掉小红帽。千钧一发之际，勇敢的护林人冲进来，用斧头砍死了大灰狼，小女主角得救了。汉塞尔和格蕾特被残忍地遗弃在森林里等死，在那里他们遇到了住在姜饼房子里的看似和善的老妇人。但她原来是一个邪恶的女巫，她唯一的愿望就是吞噬他们。就在一切似乎都失去了的时候，他们设法把她推进自己的烤箱里烧死，作为奖励，他们找到了一件可以凯旋回家的宝藏。杰克爬上他的魔豆茎，在顶端发现了一个新世界，在那里他进入了一座属于恐怖嗜血巨人的神秘城堡。在连续三次造访逐渐激怒了这个怪物之后，杰克每次都成功地偷走了一件黄金宝藏，最终唤醒了这个巨人，开始了一场看似致命的追击。直到千钧一发之际，杰克才设法爬下豆茎，并用斧头将其砍倒。巨人倒在地上死了，留下杰克享受他从巨人手中赢得的三件无价宝藏。杰克终于唤醒了巨人，开始了一场看似致命的追击。直到千钧一发之际，杰克才设法爬下豆茎，并用斧头将其砍倒。巨人倒在地上死了，留下杰克享受他从巨人手中赢得的三件无价宝藏。杰克终于唤醒了巨人，开始了一场看似致命的追击。直到千钧一发之际，杰克才设法爬下豆茎，并用斧头将其砍倒。巨人倒在地上死了，留下杰克享受他从巨人手中赢得的三件无价宝藏。
We first usually encounter these extraordinary creations early in our lives, in the guises of the wolves, witches and giants of fairy tales. Little Red Riding Hood goes off into the great forest to visit her kindly grandmother, only to find that granny has been replaced by the wicked wolf, whose only desire is to eat Red Riding Hood. In the nick of time, a brave forester bursts in to kill the wolf with his axe, and the little heroine is saved. Hansel and Gretel are cruelly abandoned to die in the forest, where they meet the apparently kindly old woman who lives in a house made of gingerbread. But she turns out to be a wicked witch, whose only wish is to devour them. Just when all seems lost, they manage to push her into her own oven and burn her to death, finding, as their reward, a great treasure with which they can triumphantly return home. Jack climbs his magic beanstalk to discover at the top a new world, where he enters a mysterious castle belonging to a terrifying and bloodthirsty giant. After progressively enraging this monstrous figure by three successive visits, each time managing to steal a golden treasure, Jack finally arouses the giant to what seems like a fatal pursuit. Only in the nick of time does Jack manage to scramble down the beanstalk, and bring it crashing down with an axe. The giant falls dead to the ground, and Jack is left to enjoy the three priceless treasures he has won from its grasp.
“战胜怪物”故事的本质很简单。我们和英雄都意识到邪恶力量的某种超人化身的存在。该怪物可能采取人类形态（例如巨人或女巫）；动物的形态（狼、龙、鲨鱼）；或两者的组合（牛头怪、狮身人面像）。对于那些穿过它的道路或落入它的魔掌的人来说，它总是致命的，威胁着毁灭。它常常威胁着整个社区或王国，甚至人类和整个世界。但怪物的手中往往也有一些大奖，无价的宝藏或美丽的“公主”。
The essence of the ‘Overcoming the Monster’ story is simple. Both we and the hero are made aware of the existence of some superhuman embodiment of evil power. This monster may take human form (e.g., a giant or a witch); the form of an animal (a wolf, a dragon, a shark); or a combination of both (the Minotaur, the Sphinx). It is always deadly, threatening destruction to those who cross its path or fall into its clutches. Often it is threatening an entire community or kingdom, even mankind and the world in general. But the monster often also has in its clutches some great prize, a priceless treasure or a beautiful ‘Princess’.
这个人物的存在如此强大，它所散发出的威胁感如此之大，以至于当我们追随这个故事时，对我们来说唯一重要的事情就是应该杀死它并推翻它的黑暗力量。最终，英雄必须面对怪物，通常配备某种“魔法武器”，并且通常在其巢穴内或附近，该巢穴可能在洞穴、森林、城堡、湖泊、海洋或其他地方。其他较深且封闭的地方。战斗已经打响，在如此可怕的胜算下，英雄似乎不可能获胜。事实上，有那么一刻，他的毁灭似乎是不可避免的。但到了最后一刻，当故事达到高潮时，却出现了戏剧性的反转。英雄“惊心动魄地死里逃生”，怪物被杀死。英雄的回报是无价的。他赢得了宝藏，或“公主”的手。他将世界——社区、王国、人类——从生存威胁的阴影中解放出来。为了纪念他的成就，他很可能会继续成为某种统治者或国王。
So powerful is the presence of this figure, so great the sense of threat which emanates from it, that the only thing which matters to us as we follow the story is that it should be killed and its dark power overthrown. Eventually the hero must confront the monster, often armed with some kind of ‘magic weapons’, and usually in or near its lair, which is likely to be in a cave, a forest, a castle, a lake, the sea, or some other deep and enclosed place. Battle is joined and it seems that, against such terrifying odds, the hero cannot possibly win. Indeed there is a moment when his destruction seems all but inevitable. But at the last moment, as the story reaches its climax, there is a dramatic reversal. The hero makes a ‘thrilling escape from death’ and the monster is slain. The hero’s reward is beyond price. He wins the treasure, or the hand of the ‘Princess’. He has liberated the world – community, kingdom, the human race – from the shadow of this threat to its survival. And in honour of his achievement, he may well go on to become some kind of ruler or king.
世界上几乎没有哪个文化没有产生过某种版本的克服怪物的故事。但我们特别与此类故事联系在一起的一个文明是古希腊文明，其神话中充斥着各种各样的怪物，从最初被宙斯击败的泰坦，到被奥德修斯弄瞎的独眼巨人波吕斐摩斯，再到被阿波罗勒死的强大蟒蛇。或者当俄狄浦斯被证明是第一个能够正确回答她的谜语的人（因此他被选为底比斯国王）时，摆出谜语的斯芬克斯从悬崖上跳了下去。
There have been few cultures in the world which have not produced some version of the Overcoming The Monster story. But a civilisation we particularly associate with such stories is that of the ancient Greeks, whose mythology was swarming with monsters of every kind, from the original Titans overcome by Zeus or the one-eyed giant Polyphemus blinded by Odysseus to the mighty Python strangled by Apollo or the riddle-posing Sphinx who threw herself over the cliff when Oedipus proved to be the first man who could correctly answer her riddle (for which he was chosen to be king over Thebes).
希腊最著名的怪物屠宰英雄之一是珀尔修斯，他必须战胜的不是一只怪物，而是两只，一雌一雄。当他还是个小男孩时，他与美丽的母亲达娜厄公主一起漂流在这个世界上，两人都陷入了残酷暴君阿克里修斯的阴影下，阿克里修斯要求达娜厄屈服于他的求爱。为了拯救他的母亲免受这种命运，年轻的珀尔修斯提出执行暴君交给他的任何任务。因此，残忍的阿克里西乌斯将男孩送往世界的尽头，去获取可怕的蛇发女妖美杜莎的头颅，仅仅看到她的脸就足以将一个人变成石头。众神为珀尔修斯配备了魔法武器、一双能让他飞翔的带翼凉鞋、一顶“隐形头盔”和一面擦得锃亮的盾牌，他无需直视美杜莎，就能看到她的倒影。正如奥维德所言，珀尔修斯“通过遥远且无路可走的方式”到达了位于世界西部边缘的蛇发女妖的巢穴，并切断了美杜莎的巢穴。蛇覆盖的头。看起来他已经胜利地完成了交给他的任务；但事实上，他似乎已经成功地完成了交给他的任务。但我们现在了解到，这只是为他回家路上等待着的更艰巨的任务做必要的准备。当他带着战利品飞回来时，他低头看到美丽的、哭泣的公主安德洛墨达，她被锁在海边的一块岩石上。她被放置在那里作为贡品，以安抚可怕的海怪，海怪是波塞冬派来破坏她父亲的王国的。珀尔修斯看到这条巨大的爬行动物从深渊中升起，想要抓住安德洛墨达，于是俯冲下来与它交战。他能够使用他第一次胜利的战利品——美杜莎的头颅，将怪物变成石头。由于他将公主父亲的王国从可怕的威胁中解放出来，他得到了公主的奖励。他回到家，
One of the most celebrated of the Greek monster-slaying heroes was Perseus, who had to overcome not one monster but two, one female, one male. When, as a young boy, he is cast adrift in the world with his beautiful mother, the Princess Danae, the two fall under the shadow of the cruel tyrant Acrisius, who demands that Danae should succumb to his advances. In a desperate bid to save his mother from this fate, young Perseus offers to perform any task the tyrant should set him. The cruel Acrisius therefore sends the boy off to the end of the world to obtain the head of the dreadful Gorgon Medusa, the mere sight of whose face is sufficient to turn a man to stone. Perseus is equipped by the gods with magic weapons, a pair of winged sandals, enabling him to fly, a ‘helmet of invisibility’ and a brilliantly polished shield, in which he will be able to see the Medusa’s reflection without having to look at her directly. ‘By remote and pathless ways’, as Ovid put it, Perseus reaches the Gorgons’ lair at the Western edge of the world, and severs the Medusa’s snake-covered head. It might seem that he has triumphantly concluded the task that has been set him; but we now learn that this was merely the essential preparation for a further immense task which awaits him on his journey home. As he flies back with his prize, he looks down to see a beautiful, weeping Princess, Andromeda, chained to a rock by the sea. She has been placed there as tribute to appease a fearsome sea-monster, which has been sent by Poseidon to ravage her father’s kingdom. Perseus sees the huge reptile rising out of the deeps to seize Andromeda and swoops down to engage it in battle. He is able to use the trophy of his first victory, the head of Medusa, to turn the monster to stone. He is rewarded with the hand of the Princess, for liberating her father’s kingdom from this awful threat. He returns home, where he uses the Medusa’s head to turn the tyrant Acrisius to stone, and eventually goes on to become king of Argos.
另一位著名的怪物杀手是忒修斯，他也和母亲一起独自在这个世界上长大。成年后，他前往雅典与父亲埃勾斯国王团聚，途中必须杀死一系列怪物和恶棍。但当他到达时，他发现父亲的王国笼罩在可怕的阴影之下，这是由一个位于克里特岛的敌对王国投下的，由冷酷的暴君米诺斯国王统治。每隔九年，雅典人就必须向暴君致敬，将他们城市的青春之花送去喂养可怕的怪物牛头怪，半牛半人（波塞冬的另一个创造物），它生活在雅典的中心。巨大的迷宫，一个黑暗、封闭的石头迷宫，没有人找到出路。忒修斯自愿带领一群年轻人和少女，将他们献祭给这个生物。到达克里特岛后，他赢得了暴君的女儿阿里阿德涅的爱和支持，阿里阿德涅秘密地向他提供了“魔法辅助工具”，一把剑和一束线，他需要赢得胜利。他找到了通往迷宫中心的路，解开了线索，面对牛头怪并杀死了它。阿里阿德涅的线使他能够沿着迷宫般的隧道返回到露天。确实，当他们一起逃回雅典时，忒修斯将他的公主遗弃在纳克索斯岛上。当他看到大陆时，忘记升起白帆而不是黑帆，向他的父亲表明他已经胜利归来，埃勾斯国王悲痛欲绝，投海自尽，这座海从此以他的名字命名。但这也意味着，像许多其他杀死怪物的英雄一样，忒修斯继承了王国，成为雅典有史以来最伟大的统治者。他最终还娶了公主，任命阿里阿德涅的妹妹菲德拉为王后。
Another celebrated monster-slayer was Theseus, who also grows up alone in the world with his mother. On coming of age he goes to rejoin his father, King Aegeus in Athens, having to kill a series of monsters and villains on the way. But when he arrives he finds his father’s kingdom under a terrible shadow, cast by a rival kingdom across the sea in Crete, ruled over by the grim tyrant King Minos. Every ninth year the Athenians must pay a tribute to the tyrant, by sending the flower of their city’s youth to feed the frightful monster the Minotaur, half-bull, half-man (another creation of Poseidon), which lives at the heart of the mighty Labyrinth, a dark, enclosed stone maze from which no one has ever found a way out. Theseus volunteers to lead the party of young men and maidens who are to be sacrificed to this creature; and on arriving in Crete he wins the love and support of the tyrant’s daughter Ariadne, who secretly supplies him with the ‘magic aids’, a sword and a skein of thread, he needs to win victory. Finding his way to the centre of the Labyrinth, unravelling the thread, he confronts the Minotaur and kills it. Ariadne’s thread enables him to retrace his way back through the maze of tunnels to the open air. It is true that, when they then flee together back to Athens, Theseus abandons his Princess on the island of Naxos. And as he comes within sight of the mainland, and forgets to hoist a white rather than a black sail to show his father that he has returned victorious, King Aegeus throws himself in grief into the sea which ever afterwards bore his name. But this also means that, like many another monster-slaying hero, Theseus succeeds to the kingdom, becoming the greatest ruler Athens ever had. He also eventually marries the Princess, by making Ariadne’s sister Phaedra his queen.
与希腊神话中一系列令人厌恶和超自然的怪物相比（不要忘记一系列的恐怖，比如多头九头蛇，赫拉克勒斯在他的十二项功绩中战胜了它），最熟悉的《战胜怪物》故事中的反派角色犹太传说似乎几乎是家喻户晓的。但当非利士军队入侵扫罗王国时，对以色列子民来说，没有什么比非利士人高大、看似无敌的冠军、自夸的巨人歌利亚更可怕的了。当一个默默无闻的小牧童大卫挺身而出向巨人挑战时，首先是他自己的兄弟，然后整个以色列军队都表现出了无比的蔑视——直到他们看到了他投掷“魔法”弹石的致命目标。击中巨人的额头，将巨人轰然倒地。故事中一个可能被忽视的细节是大卫得胜后所发生的事情。作为国家的救世主，他嫁给了扫罗国王的女儿米甲公主。最终这位年轻的巨人杀手接替扫罗成为他国家最伟大的国王。
Compared with the array of loathsome and supernatural monsters in Greek mythology (not forgetting the succession of horrors, like the many-headed Hydra, overcome by Heracles in the course of his twelve labours), the villain of the most familiar Overcoming the Monster story in Jewish legend might seem almost domesticated. But when the Philistine army invaded the kingdom of Saul, nothing could have seemed more terrifying to the children of Israel than the Philistines’ towering, seemingly invincible champion, the boastful giant Goliath. When an obscure little shepherd-boy David stepped forward to challenge the giant, first his own brothers, then the Israelite army as a whole could not have been more scornful – until they saw the deadly aim with which he cast his ‘magic’ slingstones into the giant’s forehead, sending the great figure toppling lifeless to the ground. And a detail of the story which might be overlooked is what happens to David after his victory. For being the saviour of his country, he is given the hand in marriage of King Saul’s daughter, the Princess Michal; and eventually the young giant-slayer succeeds Saul to become his country’s greatest king.
英雄杀死怪物后的直接奖励可能并不总是赢得一位“公主”和继承一个王国：但以某种形式，这些很少是遥远的。
The hero’s immediate reward for slaying the monster may not always be the winning of a ‘Princess’ and succession to a kingdom: but in some form or another these are rarely very far away.
例如，另一个著名的怪物故事群是那些在公元第一个千年的迷雾和黑暗中出现在北欧居民想象中的故事。世界上很少见过像这个时代的挪威传奇、日耳曼和凯尔特史诗那样充斥着巨人、龙、巨魔、奸诈的矮人、邪恶的恶魔和“令人厌恶的蠕虫”的游行。在这里，英雄杀死怪物后的直接奖励很可能是一笔神话般的宝藏。《沃尔松加传奇》(Volsunga Saga)中的一个故事就是这样的故事，后来瓦格纳改编后获得了更广泛的流传讲述了年轻的英雄西格德如何借助他的“魔法武器”格拉姆巨剑，杀死了可怕的怪物法夫尼尔，法夫尼尔坐在荒野中央，沉思着一个巨大的宝藏，其中包括获得各种资源的途径符文知识，例如对鸟鸣的理解。但随后他发现了“美丽的战斗少女”布伦希尔德，她躺在山顶上睡着了，周围有一圈魔法火焰守护着，只有“真正的英雄”才能进入；正是他从战胜法夫纳中获得的宝藏和秘密知识使他能够唤醒她并赢得她的爱。
Another notable constellation of monster-tales, for instance, were those which loomed up in the imaginations of the inhabitants of northern Europe, amid the mists and darkness of the first millennium of the Christian era. The world has rarely seen such a parade of giants, dragons, trolls, treacherous dwarves, foul fiends and ‘loathly worms’ as infested the Norse sagas and Germanic and Celtic epics of these times. And here the hero’s immediate reward for slaying the monster was likely to be a fabulous treasure. One such tale, later to achieve wider currency from its adaptation by Wagner, was the episode in the Volsunga Saga which tells of how the young hero Sigurd, with the aid of his ‘magic weapon’, the great sword Gram, slays the horrible monster Fafnir, who sits in the middle of a wilderness brooding over a great treasure, which includes access to all sorts of runic knowledge, such as an understanding of the song of the birds. But he then goes on to discover ‘the beauteous battle-maiden’ Brynhild, lying asleep on a mountain top, guarded by a ring of magic flames which only ‘the true hero’ can enter; and it is the treasures and the secret knowledge he has won from his victory over Fafnir which enable him to waken her and win her love.
黑暗时代另一个著名的战胜怪物的故事是贝奥武夫的故事。我们再次从一个熟悉的王国形象开始，这个王国陷入了可怕的阴影之中：希奥罗特的小社区每晚都受到神秘怪物格伦德尔的掠夺性袭击的威胁。年轻的英雄贝奥武甫从大洋彼岸远道而来，最终在一场伟大的夜间战斗中给怪物造成了致命伤：当他追踪格伦德尔的血迹时却发现，他必须面对怪物更可怕的母亲。深湖底部的巢穴，她正在那里沉思着她死去儿子的尸体。尽管贝奥武夫战胜这两个怪物后得到的直接奖励是感激的国王所拯救的王国带来的大量“古代宝藏和扭曲的黄金”，
Another celebrated Overcoming the Monster story from the Dark Ages is that of Beowulf. Again we begin with the familiar image of a kingdom which has fallen under a terrible shadow: the little community of Heorot which is nightly menaced by the predatory assaults of the mysterious monster Grendel. The young hero Beowulf comes from across the sea and eventually, in a great nocturnal battle, deals the monster a mortal wound: only to discover, when he tracks the trail of Grendel’s blood, that he must confront the monster’s even more terrible mother, in the lair at the bottom of a deep lake where she is brooding over the body of her dead son. Although Beowulf’s immediate reward for his victory over the two monsters is a rich hoard of ‘ancient treasures and twisted gold’ from the grateful king whose kingdom he has saved, he then returns home to become king over his own kingdom (many years later, at the end of his life, he has to confront a third monster, in a profoundly symbolic episode which we shall look at much later in the book).
在中世纪基督教欧洲提出的许多战胜怪物的故事中，最熟悉的可能是《圣乔治与龙》的故事，它似乎是对珀尔修斯神话的基督教改编。1的英雄来到一个正在被巨龙蹂躏的王国，像珀尔修斯一样，发现了一位美丽的公主被拴在海边，她的同胞们把她安置在那里，以求收买巨龙的攻击。怪物逼近，乔治杀死了他；但是，与珀尔修斯不同的是，乔治当时无法与他释放的公主结婚。由于这是相当自觉的“基督教”故事版本，他的奖励只是坚持该国所有居民都应该接受洗礼：换句话说，他们都应该继承另一个“王国”，即王国基督的。2
Of the many Overcoming the Monster stories thrown up by Christian Europe in the Middle Ages, probably the most familiar is that of St George and the Dragon, which appears to be a Christian adaptation of the Perseus myth.1 The hero comes to a kingdom which is being ravaged by a dragon and, like Perseus, finds a beautiful Princess tethered by the edge of the sea, where she has been placed by her countrymen in a last desperate bid to buy off the monster’s attacks. The monster approaches and George slays him; but, unlike Perseus, George is not then able to marry the Princess he has freed. Since this is rather self-consciously a ‘Christian’ version of the tale, his reward is simply to insist that all the inhabitants of the country should be baptised: in other words, that they should all succeed to another ‘kingdom’, the kingdom of Christ.2
在中世纪和文艺复兴之后的几个世纪里，人们对超自然现象的信仰逐渐减弱，古老的奇幻龙和怪物逐渐消失在欧洲故事的地平线之下（尽管它们从未完全消失）。但后来，在启蒙运动的理性主义时代，甚至在大多数字面意义上的唯物主义维多利亚时代，神话般的、可怕的“怪物”以一种相当引人注目的方式重新流行起来，这似乎是完全不可能的。
During the centuries of diminishing faith in the supernatural which followed the Middle Ages and the Renaissance, the more obviously fantastic dragons and monsters of old slipped below the horizon of European storytelling (although they never faded away altogether). But then, in a way which to the rationalistic age of the Enlightenment or even through most of the literal, materialistic Victorian era would have seemed wholly improbable, fabulous and terrifying ‘monsters’ came back into vogue in a quite remarkable fashion.
这一切发生得非常突然，发生在十九世纪末。在过去的 100 年里，出现了许多预兆，尤其是“哥特式恐怖”的品味，它是浪漫主义运动兴起的重要反映，例如《奥特朗托城堡》（1764 年）和玛丽·雪莱的《弗兰肯斯坦》（1817）。但在 1890 年代的短短几年里，英国出现了一系列此类故事，从那时起，这些故事就在大众娱乐中占据了主导地位——鬼故事、恐怖故事、科幻小说——其中怪物这种最怪诞、最不可思议的故事再次登上了西方流行故事的前沿。
It all happened quite suddenly, in the closing years of the nineteenth century. Over the previous 100 years there had been a number of premonitory signs, notably in the taste for ‘Gothic horror’ which had been such an important reflection of the rise of the Romantic movement, with stories such as The Castle of Otranto (1764) and Mary Shelley’s Frankenstein (1817). But in the space of just a few years in the 1890s, there appeared in England a rash of stories of the kind which have played such a dominant part in popular entertainment ever since – ghost stories, tales of horror, science fiction – in which monsters of the most grotesque and improbable variety once again surged to the forefront of Western popular storytelling.
1894 年，一位年轻的剑桥大学教授詹姆斯先生写了一篇名为《卡农·阿尔伯里克的剪贴簿》的故事。自古以来，关于鬼魂和闹鬼的故事就一直被讲述，但詹姆斯在他的鬼故事系列中的第一个中提出了这种形式进入一个新的恐怖平面。在比利牛斯山脉的一个“腐朽的小镇”，英国学者丹尼斯顿发现了一本旧手稿，这些手稿属于当地大教堂的一位教士，这位教士在 200 年前神秘死亡。一幅图画特别引起了他的注意——所罗门王宫廷里一群惊恐的士兵包围着一个奇怪的、无形的生物。那天晚上很晚，当丹尼斯顿在自己的住处检查这幅画时，他突然意识到房间里有一个可怕的存在：
In 1894 a young Cambridge don, M. R. James, wrote a story called Canon Alberic’s Scrap Book. Tales of ghosts and hauntings have been told since time immemorial, but with the first of his series of ghost stories James raised the form onto a new plane of horror. In a ‘decaying town’ in the Pyrenees, an English scholar, Denniston, finds a folio of old manuscripts which belonged to a Canon of the local cathedral who had died in mysterious circumstances 200 years before. One drawing in particular catches his attention – a group of horrified soldiers at the court of King Solomon, surrounding a strange, shapeless creature. Late that evening, while he is examining the drawing in his lodgings, Denniston suddenly becomes aware of a terrible presence in the room:
“他从椅子上飞了起来，致命的、难以想象的恐惧抓住了他的心。这个形状……在他的座位后面站起来……粗糙的毛发覆盖着它，如图所示。下颌很薄——我该怎么称呼它呢？——浅薄，像野兽一样；黑色嘴唇后面露出牙齿；没有鼻子；火黄色的眼睛，瞳孔的映衬下，黑色而强烈，以及那里闪烁着的狂喜的仇恨和毁灭生命的渴望，是整个景象中最可怕的两个特征。
‘He flew out of his chair with deadly, inconceivable terror clutching at his heart. The shape ... was rising to a standing posture behind his seat ... coarse hair covered it, as in the drawing. The lower jaw was thin – what can I call it? – shallow, like a beast’s; teeth showed behind the black lips; there was no nose; the eyes, of a fiery yellow, against which the pupils showed, black and intense, and the exulting hate and thirst to destroy life which shone there, were the two most horrifying features in the whole vision.’
丹尼斯顿抓住了一个十字架，就像抓住了一件“魔法武器”：两个仆人冲了进来，感觉到“有东西”把他们带出了房间。丹尼斯顿毁掉了这幅画；“怪物”被克服了，不再出现。
Denniston grabs at a crucifix, as at a ‘magic weapon’: two servants rush in, and feel ‘something’ passing them out of the room. Denniston destroys the drawing; the ‘monster’ is overcome and appears no more.
三年后，即 1897 年，英裔爱尔兰人前公务员布拉姆·斯托克 (Bram Stoker) 出版了《德古拉》( Dracula)。同样，吸血吸血鬼的故事在历史上曾多次被讲述过，但斯托克的版本是在一个新的恐怖层面上构思的。故事分为两部分。在第一部中，主人公是一位名叫哈克的年轻英国律师，他参观了特兰西瓦尼亚狼出没的森林深处一座神秘的废墟城堡。这个地方和他的客户德古拉伯爵身上都弥漫着一种难以形容的邪恶气氛，德古拉伯爵有着尖利的牙齿和不自然的红唇。接下来的事情让一个世纪前的任何“哥特式恐怖”都显得微不足道。哈克发现他被一个人困住了，这个人可以在月光下面朝下在城堡墙上爬行；有一天，他发现他躺在地上，好像死了一样，“肿胀”着血，“像一条肮脏的水蛭，吃饱了，精疲力尽”；他似乎指挥着一支由同样可怕的超自然灵魂组成的军队。
Three years later, in 1897, an Anglo-Irish former civil servant, Bram Stoker, published Dracula. Again, stories of blood-drinking vampires had been told at various times before in history but Stoker’s version was conceived on a new plane of horror. The story divided into two parts. In the first, the hero, a young English lawyer named Harker, makes a visit to a mysterious, ruined castle deep in the wolf-infested forests of Transylvania. There is an air of indescribable evil, both about the place and about his client, Count Dracula, a man with sharp, protruding teeth and unnaturally red lips. What follows makes any ‘Gothic horrors’ of a century before seem trivial. Harker discovers that he is trapped by a man who can crawl face downwards on the castle wall by moonlight; whom he finds one day lying as if dead, ‘bloated’ with blood, ‘like a filthy leech, exhausted with his repletion’; who seems to be in command of a whole army of equally horrible supernatural spirits.
英雄如何从看似注定的厄运中逃脱从来没有弄清楚，但故事的第二部分讲述了德古拉如何“入侵”英格兰，特别是哈克和一群朋友为阻止怪物占领两个年轻人而进行的战斗女孩们，其中之一是哈克的未婚妻米娜，招募她们加入他的阴暗活死人大军。他们中的第一个，米娜的朋友露西，致命地陷入了德古拉的魔力之中：
Just how the hero escapes from seemingly certain doom is never made clear, but the second part of the story tells of how Dracula ‘invades’ England, and in particular the battle by Harker and a group of friends to prevent the monster taking over two young girls, one of them Harker’s intended wife Mina, to recruit them into his shadowy army of the living dead. The first of them, Mina’s friend Lucy, falls fatally into Dracula’s power:
“在紫杉林荫道的远处，我们看到一个白色的身影正在前进……露西·韦斯特拉，但现在发生了多大的变化。甜蜜变成了刚毅无情的残忍，纯洁变成了淫荡……嘴唇染上了鲜血，眼睛变得污浊，充满了地狱之火。
‘Far down the avenue of yews we saw a white figure advance ... Lucy Westenra, but yet how changed. The sweetness was changed to adamantine, heartless cruelty, and the purity to voluptuous wantonness ... (her) lips were crimson with fresh blood ... (her) eyes unclean and full of hell-fire.’
消灭了一位“公主”后，德古拉将夜间攻击转向另一位，即英雄的未婚妻米娜。渐渐地，我们看到她陷入了怪物的致命力量之中。哈克和他的朋友们最终追捕德古拉，并将他追回他的特兰西瓦尼亚巢穴，就在之前的关键时刻米娜终于死了，他们通过将木桩插入怪物的心脏来操作他们的“魔法武器”（这是杀死吸血鬼的唯一方法）：
Having destroyed one ‘Princess’, Dracula then turns his nocturnal attacks on the other, the hero’s fiancée Mina. Gradually we see her sinking away into the monster’s deadly power. Harker and his friends eventually hunt Dracula down and pursue him back to his Transylvanian lair where, just in the nick of time before Mina finally expires, they manage to operate their ‘magic weapon’ by plunging a stake into the monster’s heart (the only way a vampire can be killed):
“在我们眼前，几乎是一口气，整个身体就化为灰尘，从我们的视线中消失了。”
‘Before our very eyes, and almost in the drawing of a breath, the whole body crumbled into dust and passed from our sight.’
米娜——以及人类——得救了！
Mina – and mankind – are saved!
1898 年，即《德古拉》的第二年，HG 威尔斯出版了《世界大战》。再说一遍，这绝不是第一个科幻故事，但儒勒·凡尔纳相对舒适的幻想中却没有包含这样的内容。火星上可以看到一阵阵火焰，巨大的陨石划过天空，有些陨石落到了英格兰南部的地球上。当这些神秘的、半埋在地下的圆柱体中似乎蕴藏着生命时，最初的兴奋好奇心变成了惊慌：
In 1898, the year after Dracula, H. G. Wells published The War of the Worlds. Again, it was by no means the first science fiction story, but the comparatively cosy fantasies of Jules Verne had contained nothing like this. Puffs of fire are seen on Mars, huge meteorites flash across the sky, and some come to earth in southern England. The initial mood of excited curiosity changes to alarm, when it appears that these mysterious, half-buried cylinders contain life:
“当它鼓起并接受光线时，它像湿皮革一样闪闪发光。那双黑色的大眼睛坚定地注视着我们。它是圆形的，有人可能会说，有一张脸。眼睛下面有一张嘴，边缘颤抖着喘气，流着口水，身体痉挛地起伏、搏动。一根细长的触手附肢抓住了圆柱体的边缘，另一根在空中挥舞着。
‘As it bulged up and caught the light, it glistened like wet leather. The large, dark-coloured eyes were regarding us steadfastly. It was rounded, and had, one might say, a face. There was a mouth under the eyes, the brim of which quivered and panted and dropped saliva, The body heaved and pulsated convulsively. A lank, tentacular appendage gripped the edge of the cylinder, another waved in the air.’
噩梦般的意识到，这些巨大的“真菌”怪物从圆柱体中爬出来，充满了敌意。他们组装了巨大的“三脚架机器”，跨越乡村，装备了“热射线”和致命的“黑烟”，而人类似乎对此毫无防御能力。英格兰南部一片荒芜，城镇被烧毁，尸体堆积起来，乡村逐渐被可怕的“红草”淹没。世界还能生存吗？
The nightmarish realisation dawns that these huge ‘fungoid’ monsters climbing out of the cylinders are implacably hostile. They assemble great ‘tripod machines’ which stride across the countryside, armed with ‘Heat Rays’ and the deadly ‘Black Smoke’, against which mankind has seemingly no defence. Southern England is laid waste, as towns and cities burn, corpses pile up and the countryside is gradually submerged beneath the horrible ‘Red Weed’. Can the world survive?
然后，当英雄蜷缩在伦敦南部的一个地窖里，独自一人，想象着他的妻子已经死了时，他听到在这座荒芜、半毁的城市中飘荡着一声可怕的哀号，“乌拉，乌拉，乌拉”。他小心翼翼地走上报春花山，在那里他看到巨大的机器静静地站着，死去的火星人像腐烂的肉条一样挂在外面。入侵的怪物已经成为卑微的地球细菌的牺牲品，这是他们无法防御的一种东西。人类得救了；故事的结尾是主人公与妻子幸福地团聚，结果妻子和他一样奇迹般地活了下来。
Then, as the hero cowers in a cellar in south London, all alone and imagining his wife to be dead, he hears floating across the deserted, half-ruined city a ghastly, wailing cry, ‘Ulla, ulla, ulla’. He cautiously picks his way up to Primrose Hill, where he sees the great machines standing silent, the dead Martians hanging out of them as strips of decaying meat. The invading monsters have fallen prey to humble earthly bacteria, the one thing against which they had no defence. Mankind is saved; and the story ends on the image of the hero being joyfully reunited with his wife who turns out, like him, to have miraculously survived.
我详细地强调了这一小群十九世纪末的故事，因为它们代表了整个故事史上最引人注目的发展之一：对具有近乎超自然力量的怪物的迷恋突然出现这后来成为二十世纪流行故事讲述的一个显着特征。在近代的德古拉、长着大眼睛的“外星人”、三足怪和其他无形的夜间生物中，它们数量如此之多，遍布在电影屏幕上和我们这个时代的幻想生活中，我们几乎可以看到所有具有特征的东西。遥远过去最耸人听闻的怪物故事。例如，从珀尔修斯和安德洛墨达开始，电影《金刚》中，年轻漂亮的女主角被巨猿抓住，在纽约的天际线上挥舞？
I have highlighted this little group of stories dating from the closing years of the nineteenth century in some detail because they represent one of the most remarkable developments in the entire history of stories: the sudden onset of that fascination with monsters of a near-supernatural power which was to become such a conspicuous feature of twentieth-century popular storytelling. In the latter-day Draculas, bug-eyed ‘extra-terrestrials’, triffids and other shapeless creature of the night which have swarmed in such numbers across the cinema screens and through the fantasy life of our time, we may see almost everything which characterised the most lurid monster-tales of the distant past. Since Perseus and Andromeda, for instance, has there been any more vivid image of the ‘Princess’ struggling in the clutches of the monster than the famous shot in the film King Kong showing the pretty young heroine being waved above the skyline of New York in the grip of the gigantic ape?
可以肯定的是，我们没有必要相信这些怪物的物理现实，因为它们会不自觉地出现在故事创作背后的神秘想象过程中。事实上，这种现象对于理解故事的运作方式至关重要，因此我们现在必须更仔细地研究它。
What is certain is that it is by no means necessary to believe in the physical reality of such monsters for them to loom up, as it were unbidden, in the mysterious processes of the imagination which lie behind the creation of stories. Indeed, so fundamental is this phenomenon to an understanding of how stories work, that we must now look at it more closely.
第2章
怪物（二）与惊险的死里逃生
Chapter 2
The Monster (II) and the Thrilling Escape From Death
怪物……某种不寻常或不自然的东西……一种动物的一个或多个部分偏离了正常……一种想象中的动物，其形状要么是部分野蛮，部分是人类，要么是由两种或多种动物的元素合成的形式……一个不人道、可怕的残忍或邪恶的人。”
‘MONSTER ... something extraordinary or unnatural ... an animal deviating in one or more of its parts from the normal ... an imaginary animal having a form either partly brute and partly human, or compounded from elements from two or more animal forms ... a person of inhuman and horrible cruelty or wickedness.’
牛津英语词典
Oxford English Dictionary
这个自古以来一直困扰着人类想象和幻想的怪物到底是什么？正如我们将看到的，这是一个对于理解故事至关重要的问题，它与许多类型的故事相关，而不仅仅是那些以我们一直在讨论的情节为中心的故事。
What is this monster which, since time immemorial, has so haunted the imagination and fantasies of mankind? As we shall see, it is a question of deepest importance to the understanding of stories, relevant to tales of many kinds other than just those centred on the plot we have been discussing.
这个问题可以用单数来提出——指的是一个“怪物”，而不是许多——只是因为这种生物的基本特征是如此不变，无论他（或她）以何种外在形象出现。
The question may be put in the singular – speaking of one ‘monster’ rather than many – if only because the essential characteristics of this creature are so unvarying, regardless of the variety of outward guises in which he (or she) appears.
首先，在全世界的故事讲述中，我们发现这个怪物的描述语言惊人地相似。当然，它的外观和行为往往非常令人震惊。它可能是：
For a start, throughout the world’s storytelling, we find the monster being described in strikingly similar language. It tends, of course, to be highly alarming in its appearance and behaviour. It may be:
可怕的，可怕的，冷酷的，畸形的，充满仇恨的，无情的，险恶的，可怕的。
horrible, terrible, grim, mis-shapen, hate-filled, ruthless, menacing, terrifying.
不用说，这是致命的危险：
As goes without saying, it is mortally dangerous:
致命的、嗜血的、贪婪的、凶残的、有毒的、有毒的。
deadly, bloodthirsty, ravening, murderous, venomous, poisonous.
这是一个极具欺骗性且棘手的对手：
It is a deeply deceitful and tricky opponent to deal with:
狡猾、奸诈、恶毒、扭曲、滑稽、堕落、卑鄙。
cunning, treacherous, vicious, twisted, slippery, depraved, vile.
它的本质也常常是神秘且难以定义的。它可能是：
There is also often something about its nature which is mysterious and hard to define. It may be:
奇怪的、无形的、险恶的、奇怪的、噩梦般的、可怕的、地狱般的、恶魔般的、恶魔般的、黑暗的。
strange, shapeless, sinister, weird, nightmarish, ghastly, hellish, fiendish, demonic, dark.
换句话说，我们以一种奇怪的难以捉摸的方式看到了这种“夜间生物”，无论它是巨人还是女巫，龙还是魔鬼，鬼魂还是火星人，代表着（通常被赋予一种黑暗的、超自然的力量）。光环）当人性与我们自身相悖时，一切看起来最具敌意、最具威胁性和危险性的事物。
In other words, in its oddly elusive way, we see this ‘night creature’, whether it is a giant or a witch, a dragon or a devil, a ghost or a Martian, representing (often vested in a kind of dark, supernatural aura) everything which seems most inimical, threatening and dangerous in human nature, when this is turned against ourselves.
然后是怪物的物理属性。在这里，我们决不能被怪物经常被描绘成动物，甚至是动物的事实所误导。几种动物的组合：例如，想象中的龙，我们只能将其想象为由现有动物的器官组成，例如爬行动物的身体，蝙蝠的翅膀和巨型蟾蜍或蜥蜴的头。这些怪物可能是动物形态，但它们总是被赋予了自然界中任何动物都不具备的属性，例如特殊的狡猾或恶毒。事实上，他们是超自然的，具有至少部分人类的品质。
Then there are the monster’s physical attributes. And here we must not be misled by the fact the monster is so often represented as an animal, or even a composite of several animals: e.g., the imaginary dragon, which we can only conceive of as made up from the organs of existing animals, such as a reptilian body, a bat’s wings and the head of a giant toad or lizard. Such monsters may be animal in form, but they are invariably invested with attributes no animal in nature would possess, such as a peculiar cunning or malevolence. They are in fact preternatural, having qualities which are at least partly human.
当然，故事中也有很多怪物是人类，但赋予了动物属性：要么是直接的，如牛头怪，半人半牛；要么是直接的怪物，如牛头怪，半人半牛；要么是直接的，如牛头怪，半人半牛；或者，更常见的是，只是按照它们的描述方式（例如，将德古拉与“水蛭”和“蝙蝠”进行比较）。换句话说，他们被视为不完全是人类。即使怪物在外观上完全是人类的，他们也往往在某些方面存在身体异常：异常大（巨人），异常小（矮人）或在某些方面变形（例如，缺少眼睛或四肢，或驼背） ）。
Again, of course, there are many monsters in stories which are human, but invested with animal attributes: either directly, like the Minotaur, half-man, half-bull; or, more often, just in the way they are described (e.g., the comparisons of Dracula to a ‘leech’ and a ‘bat’). In other words, they are seen as less than wholly human. And even when monsters are shown as entirely human in appearance, they tend to be in some way physically abnormal: abnormally large (giants), abnormally small (dwarves) or in some way deformed (e.g., missing an eye or a limb, or hunchbacked).
简而言之，无论是动物、人类还是两者的混合体（甚至像约翰·温德姆（John Wyndham）的三叶草一样，一种智能植物），怪物总是会具有一些人类特征，但永远不会被表现为完全的人类。根据定义，故事中的怪物永远不可能是一个理想的、完美的、完整的人。
In short, whether it is animal, human or a mixture of both (or even, like John Wyndham’s triffids, an intelligent plant), the monster will always have some human characteristics, but will never be represented as wholly human. By definition, the one thing the monster in stories can never be is an ideal, perfect, whole human being.
然后是怪物的行为属性。我们总是看到它扮演以下三个角色之一：
Then there are the monster’s behavioural attributes. We invariably see it acting in one of three roles:
1. 在第一个“主动”角色中，怪物是掠食者。它以威胁或奸诈的方式在世界中游荡，试图强迫或欺骗人们接受它的力量。它可能有一个巢穴，可以从中突袭，但它的主要作用是寻找受害者。它“到处走动，寻找可以吞噬的人”，传播恐惧和破坏，并在任何感受到其影响的地方投下阴影。
1. In its first ‘active’ role, the monster is Predator. It wanders menacingly or treacherously through the world, seeking to force or to trick people into its power. It may have a lair which it sallies out from, but primarily in this role it is looking for victims. It ‘walketh about seeking whom it may devour’, spreading fear and destruction, and casting a shadow wherever its influence is felt.
2. 怪物的第二个、更“被动”的角色是坚守者。它坐在巢穴内或巢穴附近，通常嫉妒地守护着它夺取的“宝藏”或“公主”。它扮演着一个守护者和囤积者的角色，阴郁、多疑，对所有靠近的人都构成毁灭威胁。
2. The monster’s second, more ‘passive’ role is as Holdfast. It sits in or near its lair, usually jealously guarding the ‘treasure’ or the ‘Princess’ it has won into its clutches. It is in this role a keeper and a hoarder, broody, suspicious, threatening destruction to all who come near.
3. 当它的守护权受到任何方式的挑战时，怪物就会进入其第三个角色——复仇者。它恶毒地攻击，从巢穴中苏醒，一心要追击和复仇。
3. When its guardianship is in any way challenged, the monster enters its third role as Avenger. It lashes out viciously, stirring from its lair, bent on pursuit and revenge.
事实上，我们经常会看到同一个怪物在同一个故事的不同阶段扮演所有三个角色。例如，在《杰克与魔豆》中，我们首先看到的巨人是“铁血战士”，四处徘徊，索要人类食物。接下来我们看到他是坚守者，以吝啬的方式沉思着他的宝藏。当杰克偷走宝藏时，我们终于看到他作为复仇者愤怒地追赶。关于这三个角色的要点在于，它们代表了人类以完全自私的方式行事时的行为方式的所有主要方面。当人们与世界格格不入，表现得自私或反社会时，他们要么是“追求某事”，如掠夺者；冷酷地想要“抓住某物”，如坚守者；或者，作为复仇者联盟，愤恨地试图“夺回自己的利益”。
In fact we may often see the same monster acting out all three roles at different stages of the same story. In Jack and the Beanstalk, for instance, we first see the giant as Predator, prowling about, demanding human food. We next see him as Holdfast, brooding in miserly fashion over his treasures. We finally see him, when Jack steals the treasures, running angrily in pursuit, as Avenger. And the point about these three roles is that they represent all the main aspects of the way human beings behave when acting in an entirely self-seeking fashion. When people are at odds with the world, behaving selfishly or anti-socially, they are either ‘after something’, as Predators; wanting grimly to ‘hold onto something’, as Holdfasts; or, as Avengers, resentfully trying ‘to get their own back’.
人们可以这样总结：从身体上、道德上和心理上来说，故事中的怪物代表了人性中的一切，而这些人性在某种程度上是扭曲的、不完美的。最重要的是，这是故事中所描绘的每个怪物的最高特征，他或她都是以自我为中心的。怪物是无情的；完全无法同情他人，尽管有时这可能隐藏在迷人、友善或关心的外表之下；它唯一真正关心的是照顾自己的利益，而牺牲世界上其他所有人的利益。
One may sum up by saying that, physically, morally and psychologically, the monster in storytelling thus represents everything in human nature which is somehow twisted and less than perfect. Above all, and it is the supreme characteristic of every monster who has ever been portrayed in a story, he or she is egocentric. The monster is heartless; totally unable to feel for others, although this may sometimes be disguised beneath a deceptively charming, kindly or solicitous exterior; its only real concern is to look after its own interests, at the expense of everyone else in the world.
这就是英雄在一场生死之战中与之对抗的人物的本质。我们毫不怀疑为什么英雄会与这样一个黑暗和破坏性力量的中心相对立：因为英雄自己的动机和品质与怪物的动机和品质完全相反。我们看到英雄不仅为了自己而卷入斗争，而且为了拯救他人：拯救所有在怪物阴影下受苦的人；拯救所有在怪物阴影下受苦的人；解放怪物所威胁的社区或王国；去解救被囚禁的“公主”。英雄总是表现得无私并为了某种更高的事业而行动，在某种程度上表明他站在怪物的自我中心的对立面。
Such is the nature of the figure against whom the hero is pitted, in a battle to the death. And we never have any doubt as to why the hero stands in opposition to such a centre of dark and destructive power: because the hero’s own motivation and qualities are presented as so completely in contrast to those ascribed to the monster. We see the hero being drawn into the struggle not just on his own behalf but to save others: to save all those who are suffering in the monster’s shadow; to free the community or the kingdom the monster is threatening; to liberate the ‘Princess’ it has imprisoned. The hero is always shown as acting selflessly and in some higher cause, in a way which shows him standing at the opposite pole to the monster’s egocentricity.
尽管这个怪物拥有如此可怕的力量，几乎到了最后，它的黑暗存在都是主宰故事所描述的世界的主导因素，但它有一个弱点，最终使其变得脆弱。尽管它很狡猾，但它对周围世界现实的认识在某些重要方面是有限的。通过以自我为中心的欲望塑造的狭隘视野来看待世界，总有一些东西是怪物看不到的，并且很可能会忽视。这就是为什么，真正的英雄最终总是能智胜怪物：就像小大卫战胜强大的歌利亚一样，他能够通过使用小弹石避开巨人的力量；就像珀尔修斯拿着反光盾牌的美杜莎一样，这意味着他不必直视她；就像米诺斯的女儿偷偷地把剑和线送给忒修斯一样。就像威尔斯的火星人一样，他们甚至忽视了像细菌的破坏力这样看似微不足道的东西。正是怪物意识中的这一致命缺陷最终导致了它的毁灭。尽管它力量强大，但这个怪物不仅无情且以自我为中心。在某些关键方面，它也是盲目的。
And even though the monster wields such terrifying power that, almost to the end, its dark presence is the dominant factor holding sway over the world described by the story, it has one weakness which ultimately renders it vulnerable. Despite its cunning, its awareness of the reality of the world around it is in some important respect limited. Seeing the world through tunnel vision, shaped by its egocentric desires, there is always something which the monster cannot see and is likely to overlook. That is why, by the true hero, the monster can always in the end be outwitted: as was the mighty Goliath by little David, who was able to stay out of reach of the giant’s strength by using his little slingstones; as was the Medusa by Perseus with his reflecting shield, which meant he did not have to look at her directly; as was Minos by his own daughter secretly presenting Theseus with the sword and thread; as were Wells’s Martians by their overlooking even something as apparently insignificant as the destructive power of bacteria. It is this fatal flaw in the monster’s awareness which is ultimately its undoing. Despite its power, the monster is shown not only as heartless and egocentric. It is also, in some crucial respect which turns the day, blind.
这个阴暗的人物在故事中具有最重要的意义，不仅因为它在神话、民间故事、恐怖故事和科幻小说中表现得更加明显和恐怖，还因为这些特征或多或少地描述了黑暗、消极的事物。以及出现在几乎各种故事中的恶棍角色。
This shadowy figure is of the greatest significance in stories, not just because of the more obvious and lurid appearances it makes in myths, folk tales, horror stories and science fiction, but because to a greater or lesser extent these characteristics describe the dark, negative and villainous characters who appear in stories of almost every kind.
事实上，一旦我们确定了怪物的基本属性，我们就可以看到，除了我们迄今为止看到的更字面的例子之外，“战胜怪物”情节还塑造了许多类型的故事。
Indeed, once we have identified the monster’s essential attributes, we can see how there are a great many types of story shaped by the Overcoming the Monster plot other than just the more literal examples we have so far been looking at.
情节剧
Melodrama
例如，有许多深受十九世纪喜爱的情节剧故事，这些故事可能被讽刺为“英雄必须从邪恶的贾斯珀爵士的手中拯救美丽的少女”。1一个熟悉的例子是查尔斯·狄更斯的尼古拉斯·尼克尔比（1838–1839）。就像许多童话故事中的英雄一样，年轻的尼古拉斯因父亲的去世而成为孤儿，不得不抚养身无分文的母亲和妹妹。他被一位看似和蔼可亲的叔叔拉尔夫 (Ralph) 照顾，并为他在严峻的北方学校 Dotheboys Hall 安排了一个教职。当我们见到这个机构的暴虐老板斯奎尔斯先生（他和波吕斐摩斯一样，“只有一只眼睛，而普遍的偏见倾向于两只眼睛”）时，我们可能会认为我们遇到了故事中的主要“怪物”。但尼古拉斯一打败这个特殊的恶棍，狠狠地殴打他并逃离学校，人们就逐渐发现，英雄和他的家人实际上受到了一种神秘的、以九头蛇为首的阴谋的威胁，斯奎尔斯曾对这个阴谋进行过调查。只是一个较小的“头”。
There were, for instance, many of those melodramatic tales beloved of the nineteenth century which may be caricatured as ‘the hero having to rescue the beautiful maiden from the clutches of the wicked Sir Jasper’.1 A familiar instance is Charles Dickens’s Nicholas Nickleby (1838–1839). Like the hero of many a fairy tale, young Nicholas is left orphaned by the death of his father and having to provide for his penniless mother and sister. He is taken in hand by a seemingly kindly uncle, Ralph, who arranges a teaching post for him at the grim Northern school, Dotheboys Hall. And when we meet the tyrannical owner of this establishment, Mr Squeers (who, like Polyphemus, ‘had but one eye, and popular prejudice runs in favour of two’), we might think we had met the story’s chief ‘monster’. But no sooner has Nicholas overcome this particular villain, by giving him a thrashing and escaping from the school, than it gradually emerges that the hero and his family are in fact threatened by a kind of mysterious, Hydra-headed conspiracy, of which Squeers had merely been one lesser ‘head’.
事实上，这个邪恶之网中心的主要怪物是邪恶的高利贷者，拉尔夫叔叔本人。该行动首先围绕尼古拉斯的妹妹凯特从拉尔夫声名狼藉的朋友桑树霍克爵士（另一个“九头蛇头”）的掠夺性魔掌中解放出来；然后，他更加危险地拯救了他自己选择的“公主”，美丽的玛德琳·布雷，从一个卑鄙的阴谋中将她嫁给另一个九头蛇头，令人讨厌的老亚瑟·格莱德。最终，拉尔夫的所有邪恶计划都被揭露并化为泡影。凯旋的英雄尼古拉斯可以自由地与他的“公主”结婚，随后人们发现她从父亲那里继承了一笔巨大的“宝藏”。
In fact the chief monster at the centre of this web of evil is the wicked usurer, Uncle Ralph himself. The action centres first on the liberation of Nicholas’s sister Kate from the predatory clutches of Ralph’s disreputable friend Sir Mulberry Hawk, another ‘Hydra-head’; then on the even more hazardous rescue of his own chosen ‘Princess’, the beautiful Madeleine Bray, from a vile plot to marry her off to yet another Hydra-head, the unpleasant old Arthur Gride. Finally all Ralph’s wicked schemes are exposed and brought to naught. Nicholas, the triumphant hero, is free to marry his ‘Princess’ who, it is then discovered, has inherited a great ‘treasure’ from her father.
战争故事
War stories
战胜怪物主题塑造的另一种非常不同的故事是战争故事，特别是那些以第二次世界大战为背景的故事。在过去的 60 年里，第二次世界大战的巨大戏剧性事件激发了更多的虚构故事，比历史上任何其他现实生活事件都要多。造成这种情况的一个原因是希特勒的纳粹分子以及在较小程度上他们的日本盟友为讲故事的人提供了如此丰富的“怪物意象”。
A very different kind of tale shaped by the Overcoming the Monster theme is the war story, particularly those set at the time of the Second World War. In the past 60 years the immense drama of World War Two has inspired many more fictional stories than any other real-life episode in history. One reason for this was the way Hitler’s Nazis, and to a lesser extent their Japanese allies, provided storytellers with such an extraordinarily rich store of ‘monster-imagery’.
在 20 世纪 40 年代以来的无数电影中，我们看到希特勒的德国被塑造成入侵的掠夺者，配备了闪电战的所有恶魔装备；作为霍尔德法斯特，对被占领的欧洲实行残酷的专制统治；或者作为复仇者，猛烈抨击抵抗英雄、战俘营逃亡者或任何其他敢于挑战其残暴权威的人。绝大多数此类故事都是基于《战胜怪物》的情节，几乎每个故事的基本模式都是相同的。首先有一个期待的准备阶段，就像即将到来的一些巨大的考验。我们看到了德国战争机器看似不可战胜的力量。随着战斗的进行，危险感逐渐增强，英雄们似乎面临着所有的困难。然后是高潮对抗，最后，奇迹般的胜利。纳粹（有时是日本）怪物被推翻了。德国空军的黑暗舰队（如不列颠之战）被击退。伟大的捕食者船（如俾斯麦号的沉没）被摧毁。对欧洲的入侵（如《最长的一天》）已成功实现。纳粹的反攻（如突出部之战）被击退。美丽的巴黎城（《巴黎在燃烧吗？》）就像一位获救的公主，在最后一刻得救了。
In countless films from the 1940s on, we saw Hitler’s Germany cast as invading Predator, with all the diabolic paraphernalia of the blitzkrieg; as Holdfast, exercising ruthlessly tyrannical sway over Occupied Europe; or as Avenger, lashing out at resistance heroes, prison camp escapers or anyone else who dared challenge its murderous authority. The vast majority of such stories were based on the plot of Overcoming the Monster, with the underlying pattern of the story in almost every instance the same. At first there is a preparatory stage of anticipation, as of some great forthcoming ordeal. We see the seemingly insuperable power of the German war machine. There is then a gathering sense of danger, as battle is joined, and the heroes seem to have all the odds stacked against them. Then comes the climactic confrontation and, finally, the miraculous victory. The Nazi (sometimes Japanese) monster is overthrown. The dark armadas of the Luftwaffe (as in The Battle of Britain) are hurled back. The great Predator ship (as in The Sinking of the Bismarck) is destroyed. The invasion of Europe (as in The Longest Day) is successfully achieved. The Nazis’ counter-offensive (as in The Battle of the Bulge) is fought off. The beautiful city of Paris (in Is Paris Burning?), like a rescued Princess, is at the last moment saved.
但在这些看似现代、甚至“历史准确”的叙述的表面上，从未远离过与人类想象力一样古老的故事的模式和意象。阿拉斯泰尔·麦克莱恩的《纳瓦隆之枪》（1963）是一部典型的二战虚构冒险故事，讲述了五位英雄如何登陆一座戒备森严的爱琴海岛屿，摧毁隐藏在悬崖顶洞穴中的两门德国巨炮，这些巨炮就像坚守的堡垒一样统治着狭窄的海峡。我们知道，这是将大量陷入困境的盟军士兵从附近岛屿转移到安全地带的唯一途径。成千上万的生命受到这些强大的破坏引擎的摆布。英雄们痛苦地穿过岛屿，险些逃脱各种灾难，直到最后他们到达洞穴，在夜空的衬托下看到：
But never far from the surface of these apparently modern, and even ‘historically accurate’ accounts were the patterns and imagery of a story as old as the imagination of man. Alastair Maclean’s The Guns of Navarone (1963), a typical fictional Second World War adventure story, tells how five heroes land on a closely-guarded Aegean island to destroy two huge German guns concealed in a clifftop cave, which Holdfast-like dominate a narrow strait. We are aware that this is the only way through which a large number of beleaguered Allied soldiers can be lifted to safety from a nearby island. Thousands of lives are at the mercy of these mighty engines of destruction. Painfully the heroes make their way across the island, narrowly escaping every kind of disaster, until at last they reach the cave and see, against the night sky:
“蹲在上面，就像来自另一个古老世界的噩梦怪物，邪恶，纳瓦罗两门大炮的险恶轮廓。”
‘crouched massively above, like some nightmare monsters from another and ancient world, the evil, the sinister silhouettes of the two great guns of Navarone.’
当英雄们在“盲点”抓住哨兵时，他们避开了侦查，用他们的小爆炸装置对付枪支，就像对付如此巨大和强大的东西的“魔法武器”。最后，当“巨大的爆炸将这座伟大堡垒的心脏撕裂”时，在某种程度上，被摧毁的不仅仅是纳瓦隆的大炮，还有洪巴巴、牛头怪、德古拉和所有其他曾经被摧毁的怪物。经过长期磨难的悬念，每时每刻都被突然死亡的前景所笼罩，解放就在这里！生命战胜了死亡！人类可以再次呼吸了！
Evading detection as they catch the sentries on their ‘blind spot’, the heroes fix their little explosive charges against the guns, like ‘magic weapons’ against something so massive and overpowering. Finally, as the ‘tremendous detonation tore the heart out of the great fortress’, it is at one level not just the guns of Navarone which are being destroyed, but Humbaba, the Minotaur, Dracula and every other monster who has ever been. After the mounting suspense of the long ordeal, penned in at every moment by the prospect of sudden death, liberation is here! Life has triumphed over death! Humanity can breathe again!
好莱坞西部片
The Hollywood Western
《战胜怪物》情节的轮廓是如此基本，以至于它可以产生的故事类型几乎没有限制。只要我们对故事的兴趣集中在英雄与某个黑暗的、具有威胁性的人物或一群人物之间的高潮战斗的稳定发展上，无论是童话故事中的邪恶女巫还是入侵的外星人，我们都能认出它来自外太空、斯皮尔伯格在《侏罗纪公园》中的食肉恐龙或西部片中的亡命之徒。
So basic is the outline of the Overcoming the Monster plot that there is almost no limit to the variety of story-types it can give rise to. We can recognise it wherever our interest in a tale is centred on the steady build-up to a climactic battle between the hero and some dark, threatening figure, or group of figures, whether this be the wicked witch in a fairy tale or invading aliens from outer space, Spielberg’s flesh-eating dinosaurs in Jurassic Park or the outlaw gang in a Western.
基于这一情节的西部片的一个明显例子是《七雄》（1960 年），其灵感来自黑泽明的《七武士》（1954 年），这是他根据日本传统传奇故事改编的电影版本。它以经典的《战胜怪物》风格开始，展示了一个生活在巨大威胁阴影下的社区：一个墨西哥小村庄受到由邪恶的卡尔维罗斯领导的不法团伙的恐吓，他们经常来到村庄抢劫农民的财产。食物。当一位老农民试图抗议时，我们就看到了一次这样的掠夺性访问。卡尔维罗斯射门得分在村民面前，这突显了他是一个多么无情和掠夺性的暴君。住在附近的一位聪明的老人建议农民们，阻止这种恐怖统治的唯一方法就是他们应该购买枪支。三人骑马越过美国边境，在那里他们看到两名职业枪手（由尤·伯连纳和史蒂夫·麦奎因饰演）无所畏惧地反抗小镇的居民，坚持要求一名死在小镇的印第安人应该被埋葬在白人中。 -只有墓地。这表明这两位英雄没有种族偏见，并且愿意与不公正作斗争。墨西哥人只用了他们能负担得起的一小笔钱，说服两名枪手回到他们的村庄，以保护他们免受不法之徒的侵害。两人又招募了五名，
An obvious instance of a Western based on this plot is The Magnificent Seven (1960), inspired by Akira Kurosawa’s The Seven Samurai (1954), his film version of a traditional Japanese legend. It begins in classic Overcoming the Monster style by showing a community living under the shadow of a monstrous threat: a little Mexican farming village being terrorised by an outlaw gang, led by the villainous Calveros, who regularly arrive at the village to rob the farmers of food. We see one such predatory visit, when one old farmer tries to protest. Calveros shoots him in front of the villagers, thus underlining just what a heartless and predatory tyrant he is. A wise old man living nearby advises the farmers that the only way to stop this reign of terror is that they should buy guns. Three of them ride over the American border where they see two professional gunmen (played by Yul Brynner and Steve McQueen) fearlessly standing up to the inhabitants of a small town in insisting that an Indian who has died in the town should be buried in its whites-only cemetery. This establishes that the two heroes are not racially prejudiced and are willing to fight against injustice. For a small sum of money, all they can afford, the Mexicans persuade the two gunmen to come back to their village to defend them against the outlaws. The two recruit another five, and the seven gunmen arrive in the village to train its inhabitants in self-defence.
当卡尔维罗斯的帮派再次返回时，他们被击退，损失惨重。但当七人骑马到乡村看看这伙人在做什么时，卡尔维罗斯智胜了他们，趁他们不在的时候秘密占领了村庄。当他们回来时，却发现自己已经落入了他的手中。当着被吓倒的村民们的面，他拔掉了他们的枪，并允许他们离开。然而，愚蠢的是，他暴露了怪物的盲点，允许他们在离开城镇后将枪归还给他们。他无法想象，作为一名雇佣枪手，他们不会为了避免进一步的麻烦而骑马离开，让他继续压迫村民。但是，由于羞辱而受伤，七人骑马回到镇上进行最后的高潮战斗，卡尔维罗斯和他的团伙在这场战斗中被击溃，尤其是因为村民们恢复了勇气并加入了进来。七人中有四人死了。一个人决定留在村子里，因为他爱上了一位村姑，这使得故事以一对男女相爱的形象结束。但两位最初的勇敢英雄战胜了“怪物”并拯救了社区，骑马进入了广阔的蓝色。
When Calveros’s gang next returns it is beaten off with heavy losses. But when the seven ride out into the countryside to see what the gang is up to, Calveros outwits them by secretly occupying the village in their absence. When they return they discover they have fallen into his clutches. In front of the cowed villagers, he removes their guns, and allows them to leave. Foolishly, however, showing the monster’s blind spot, he allows their guns to be returned to them when they have left town. He cannot imagine that, as mere hired gunmen, they will not just ride away to avoid any further trouble, leaving him free to carry on oppressing the villagers. But, bruised by their humiliation, the seven ride back into town for a final climactic battle, in which Calveros and his gang are routed, not least because the villagers recover their courage and join in. Four of the seven are dead. One decides to remain in the village because he has fallen in love with a village girl, which allows the story to end on the image of a man and woman united in love. But the two original brave heroes ride off into the wide blue yonder, having overcome the ‘monster’ and saved the community.
另一部基于此情节的经典好莱坞西部片是弗莱德·辛尼曼的《正午》（1952），卡尔·福尔曼撰写。我们再次看到一个生活在可怕的非法团伙阴影下的社区，即旧西部的哈德利维尔小镇。故事开始于一个早晨，英雄威尔·凯恩（加里·库珀饰）辞去镇长职务，与年轻漂亮的贵格会教徒艾米（格蕾丝·凯利饰）结婚。仪式一结束，凯恩就解开了他的徽章，他和他的新娘准备永远离开这座小镇。但随后令人震惊的消息传来。几年前，凯恩曾负责逮捕弗兰克·米勒（Frank Miller），一名曾恐吓该镇的精神病帮派头目，现在米勒已出狱。他将乘坐中午的火车返回哈德利维尔，预计两小时后抵达。团伙里三个讨厌的人已经在车站等他了，
Another classic Hollywood Western based on this plot was Fred Zinnemann’s High Noon (1952), written by Carl Foreman. Again we see a community living under the shadow of a monstrous outlaw gang, the little town of Hadleyville in the old West. The story begins on the morning when the hero Will Kane (played by Gary Cooper), having resigned as town marshal, is getting married to Amy, a pretty young Quaker (Grace Kelly). No sooner is the ceremony over than Kane unpins his badge of office and he and his new bride prepare to leave the town for ever. But then shocking news arrives. Some years earlier Kane had been responsible for arresting Frank Miller, a psychopathic gang-leader who had terrorised the town, and now Miller has been released from prison. He is heading back to Hadleyville on the noon train, due to arrive in just two hours time. The three unsavoury members of his gang are already at the station waiting for him, and for the moment when they can settle their score with Kane and reimpose their reign of terror.
新婚夫妇刚离开小镇，凯恩就意识到他不能让镇上的居民毫无防备。他回头，希望能召集一群镇民来帮助击败这伙人。但老百姓都胆怯了，不敢出手相助。就像《七雄》中的一些村民一样，他们宁愿凯恩离开他们，希望能够避免麻烦。艾米作为一名贵格会教徒，她本人拒绝与流血事件有任何关系，并前往车站搭乘同一趟火车。随着时间一分一秒过去两个小时，悬念越来越大，凯恩却发现没有人支持他。终于，平原的另一边传来了远处传来的汽笛声。火车接近了。米勒下船加入他的帮派，四人大摇大摆地进入这座现已荒废的小镇，寻找与孤独的英雄一决胜负的机会。枪战开始，凯恩首先杀死了一个对手，然后又杀死了另一个。但最终他被困在一栋大楼里，其出口被米勒和另一名歹徒封锁。似乎一切都已失去，他只能任由他们摆布。然后奇迹发生了。街对面响起一声枪响，第三个恶棍倒地身亡。在最后一刻艾米跳下火车返回城镇，她站在窗前，手里拿着确凿的证据。弗兰克·米勒抓住了她，把她推到了街上，并告诉英雄，除非他出来投降，否则她就会被杀。当凯恩出现时，米勒把艾米推到一边开枪；但她勇敢地拉动了他的手臂，给了英雄首先射门的机会。四个歹徒全部死了。当羞愧的镇民们从藏身之处走出来，聚集在他们的救世主身边时，男女主人公拥抱在一起。这对恩爱夫妻终于可以幸福地一起出发，开始他们的新生活。让英雄有机会首先射门。四个歹徒全部死了。当羞愧的镇民们从藏身之处走出来，聚集在他们的救世主身边时，男女主人公拥抱在一起。这对恩爱夫妻终于可以幸福地一起出发，开始他们的新生活。让英雄有机会首先射门。四个歹徒全部死了。当羞愧的镇民们从藏身之处走出来，聚集在他们的救世主身边时，男女主人公拥抱在一起。这对恩爱夫妻终于可以幸福地一起出发，开始他们的新生活。
Scarcely have the newly-weds set out from town than Kane realises he cannot leave the townsfolk defenceless. He turns back, hoping to round up a posse of townsfolk to help defeat the gang. But the people are so cowed that they dare not help. Just like some of the villagers in The Magnificent Seven, they would much rather Kane left them, in the appeasing hope that trouble might be avoided. Amy herself, as a Quaker, refuses to have anything to do with bloodshed and leaves for the station to catch the same train. Suspense mounts, as clocks tick away the two hours, and Kane finds no one to support him. At last a distant whistle is heard from across the plain. The train approaches. Miller disembarks to join his gang and the four men swagger into the now-deserted town looking for a showdown with the solitary hero. The gun battle begins and Kane manages to kill first one of his opponents, then another. But finally he is trapped in a building, its exits covered by Miller and the other outlaw. It seems all is lost and he is at their mercy. Then a miracle takes place. A shot rings out from across the street, and a third villain lies dead. At the last minute Amy has jumped off the train and returned to town, and she is standing at a window with a smoking gun in her hand. Frank Miller seizes her, pushes her out in front of him into the street and tells the hero that, unless he comes out to surrender, she will be killed. As Kane emerges, Miller pushes Amy aside to fire; but bravely she jogs his arm, giving the hero a chance to get his shot in first. All four outlaws are dead. Hero and heroine embrace as the shamefaced townsfolk emerge from their hiding places to cluster round their saviours. The loving couple can at last ride happily off together to start their new life.
在相对现代的装饰（枪支、火车）之下，这个故事没有什么不能以古代神话或传说的形象来呈现：小镇作为一个王国受到一条可怕的龙的威胁，凯恩作为一位王子英雄，克服重重困难，最终杀死了怪物——尽管像忒修斯一样，他只有在一位慈爱的“公主”的帮助下才能做到这一点，而就在一切似乎都失去了的时候，公主出人意料地向他伸出了援助之手。
Beneath its comparatively modern trappings (guns, the train) there is nothing about this story which could not have been presented in the imagery of an ancient myth or legend: with the little town as a kingdom threatened by the approach of a terrifying dragon, and Kane as a princely hero who, against all odds, finally slays the monster – although, like Theseus, he only manages to do this with the help of a loving ‘Princess’, who unexpectedly comes to his aid just when all seems lost.
惊悚片
The thriller
通常由“克服怪物”情节塑造的另一种故事类型是惊悚片：在这里，我们再次看到惊悚片作家经常无意识地依赖于古老的“怪物意象”，因为他们在寻找一种语言，帮助他们将英雄的主要对手塑造成一个充满巨大威胁和邪恶的阴暗人物。
Another genre of story usually shaped by the Overcoming the Monster plot is the thriller: and here again we see how often thriller writers unconsciously fall back on the age-old stock of ‘monster imagery’, as they look for the kind of language which will help them to build up their hero’s chief antagonist into a shadowy figure of immense menace and evil.
在大仲马的早期惊悚冒险故事《三个火枪手》（1844 年）中，故事情节集中在英雄达达尼昂和邪恶的德温特夫人之间的长期斗争，后者引诱了英雄选择的“公主”，即年轻漂亮的德博南西厄夫人，落入她的怀抱。当我们看到用来描述德温特夫人的图像时，她的险恶影响遍及法国各地，我们看到她不仅被明确描述为“一个怪物”，“在一年内犯下了你能读到的尽可能多的罪行”，但作为“黑豹”、“老虎”、“母狮”，甚至多次作为“蛇”。
In that early thriller-adventure story Dumas’s The Three Musketeers (1844), the action centres on the long struggle between the hero D’Artagnan and the evil Lady de Winter, who lures the hero’s chosen ‘Princess’, the beautiful young Madame de Bonancieux, into her clutches. When we look at the imagery used to describe Lady de Winter, whose sinister influence extends all over France, we see her not only characterised explicitly as ‘a monster’ who has ‘committed as many crimes as you could read of in a year’, but as a ‘panther’, a ‘tiger’, a ‘lioness’ and several times as ‘a serpent’.
在《最后一题》中，柯南·道尔希望创造一个最终能与他的英雄夏洛克·福尔摩斯的力量匹敌的反派，他召唤出了“爬行动物”莫里亚蒂，就像德古拉“堕落天使”一样，是一个“非凡的人”。精神力量”使他们堕落到“邪恶的目的”。“过去几年”福尔摩斯说，“我一直意识到某种深层的组织力量永远遵守法律”。他意识到这是神秘莫里亚蒂，永远难以捉摸，伪装大师，“欧洲最危险的罪犯”，他：
When in The Final Problem Conan Doyle wished to create a villain who was at last a worthy match for the powers of his hero Sherlock Holmes, he conjured up the ‘reptilian’ Moriarty, like Dracula ‘a fallen angel’, a man of ‘extraordinary mental powers’ who has perverted them to ‘diabolic ends’. ‘For some years past’ says Holmes, ‘I have been conscious of some deep organising power which stands forever in the way of the law’. He realises that it is the shadowy Moriarty, eternally elusive, a master of disguise, ‘the most dangerous criminal in Europe’, who:
“一动不动地坐着，就像蜘蛛网中央的蜘蛛一样，但那张网有一千种辐射，他很清楚它们的每一颤动。”
‘sits motionless, like a spider in the centre of his web, but that web has a thousand radiations, and he well knows every quiver of them.’
约翰·巴肯的惊悚片大量使用了类似的意象。例如，在《三十九级台阶》中，主人公理查德·汉内得知“欧洲和平”面临着某种巨大的、隐秘的威胁：“在所有政府和军队的背后，正在发生一场大规模的地下运动，这是一场精心设计的运动”。是由一些非常危险的人所为”。当他在遥远的苏格兰荒原追查这场巨大阴谋的核心主要恶棍时，他是一名德国间谍大师，被描述为“秃头”，就像“一只邪恶的家禽”。
The thrillers of John Buchan made lavish use of similar imagery. In The Thirty Nine Steps, for instance, the hero Richard Hannay learns of the materialising of some vast, shadowy threat to ‘the peace of Europe’: ‘behind all the governments and the armies, there was a big subterranean movement going on, engineered by some very dangerous people’. When he tracks down the chief villain at the heart of this immense conspiracy to a remote Scottish moor, he is a German master-spy, described as ‘bald-headed’ like ‘a sinister fowl’.
在二十世纪最成功的惊悚片中，伊恩·弗莱明（Ian Fleming）的詹姆斯·邦德（James Bond）故事中，图像一次又一次相当明确地用神话和童话的回声来塑造“怪物”。《皇家赌场》中的反派 Le Chiffre是“黑毛牛头怪”；《太空城》中的雨果·德拉克斯爵士拥有“庞大的身体”和“食人魔的牙齿”；《生与死》中的“大个子”先生有“一个像足球一样的脑袋，是正常大小的两倍，而且几乎是圆形的”；《诺博士》中的反派角色秃头、残废，手臂不是手臂，而是钢钳，“看起来像一条巨大的毒虫，包裹在灰色锡纸里”。
In those most successful of all twentieth-century thrillers, Ian Fleming’s James Bond stories, the imagery again and again quite explicitly builds up the ‘monster’ with echoes of myth and fairy tales. Le Chiffre, the villain of Casino Royale, is ‘a black-fleeced Minotaur’; Sir Hugo Drax in Moonraker has ‘a hulking body’ with ‘ogre’s teeth’; Mr Big in Live and Let Die has ‘a great football of a head, twice the normal size and nearly round’; the villain of Dr No, bald and crippled, with steel pincers instead of arms, ‘looked like a giant venomous worm, wrapped in grey tin-foil’.
事实上，邦德故事最初成功的关键原因之一，甚至在它们被翻译成电影银幕（不断修改弗莱明的原始版本）之前，正是它们如此准确地挖掘了人类想象力的源泉，正是这些源泉赋予了邦德故事以力量。数千年来，类似的故事层出不穷。典型的邦德小说如此准确地遵循了古老的原型模式，以至于它几乎可以作为任何克服怪物故事的典范。
Indeed one of the key reasons for the initial success of the Bond stories, even before they were translated to the cinema screen (increasingly modifying Fleming’s original versions), was precisely the way they tapped so unerringly into those springs of the human imagination which had given rise to similar stories for thousands of years. So accurately did the typical Bond novel follow the age-old archetypal pattern that it might almost serve as a model for any Overcoming the Monster story.
按照弗莱明的设想，基本的邦德故事（其中一两个略有不同的模式）通过五个阶段展开，就像这样：
As conceived by Fleming, the basic Bond story (one or two vary the pattern slightly) unfolds through five stages rather like this:
1. “召唤”（或预期阶段）：英雄是英国秘密情报局的成员，被该局局长“M”召唤，并被告知世界某处发生的可疑事件，这些事件似乎对英国、西方或人类构成致命威胁作为一个整体。邦德被选中去追查并对抗这一罪恶的根源，而这个开头阶段的总体情绪是对即将到来的艰巨任务的预期。为了让邦德做好应对磨难的准备，邦德可能会拜访军械师“Q”，并为其配备特殊武器，例如一把新枪、一辆装有烟幕装置的跑车或一个能让他飞翔的火箭包。这些与古代神话中的“魔法武器”完全等同，例如剑、
1. The ‘Call’ (or Anticipation Stage): The hero, a member of the British Secret Intelligence Service, is summoned by ‘M’, head of the service, and told of suspicious goings-on somewhere in the world which appear to pose a deadly threat to Britain, the West or mankind as a whole. Bond has been chosen to track down and confront the source of this evil, and the general mood of this opening phase is one of anticipation of the immense task to come. To prepare him for his ordeal, Bond may visit the armourer, ‘Q’, to be equipped with special weapons, such as a new gun, a sports car fitted with a smokescreen device or a rocket pack which will enable him to fly. These are exact modern equivalents to the ‘magic weapons’ of ancient myth, such as the sword, the ‘helmet of invisibility’ and the winged-sandals enabling him to fly with which Perseus was equipped by the gods before his journey to confront Medusa.
2.初步成功（梦想阶段）：邦德第一次与“怪物”特工甚至“怪物”本人发生冲突，并取得胜利（他抓住了金手指或德拉克斯在打牌或打高尔夫球时作弊）。他的生活可能会受到攻击，但他幸存下来，这个阶段的总体情绪是一种梦幻般的感觉对危险免疫，怪物的力量和野心还没有完全暴露出来。
2. Initial success (Dream Stage): Bond has first brushes with the ‘monster’s’ agents or even the ‘monster’ himself, in which he is victorious (he catches Goldfinger or Drax cheating at cards or golf). There may be attacks on his life, but he survives these, and the general mood of this stage is a dream-like sense of immunity to danger, with the full horror of the monster’s power and ambitions not yet in full view.
3.对抗（挫败阶段）：邦德最终深入怪物的巢穴，接近敌人，然后遭受第一次严重的挫折，落入怪物的魔爪。但这却让他第一次看清了自己险恶而令人厌恶的对手。2因为恶棍认为自己掌握了邦德的权力，所以他暴露了自己的全部意图，例如抢劫诺克斯堡或向伦敦投下核弹。邦德因无法将这一重要信息传达给外界而感到沮丧，因为他知道这个怪物还抓住了一些美丽的女孩或俘虏的“公主”。
3. Confrontation (Frustration Stage): Bond eventually penetrates the monster’s lair to get closer to his enemy and then suffers his first serious setback, when he falls into the monster’s clutches. But this enables him to get a full view of his sinister and repulsive opponent for the first time.2 Because the villain thinks he has Bond in his power, he reveals the full scale of his intentions, e.g., to rob Fort Knox or to drop a nuclear bomb on London. Bond’s frustration at not being able to communicate this vital information back to the outside world is redoubled by knowing that the monster also has in his grip some beautiful girl or captive ‘Princess’.
4.最终的考验（噩梦阶段）：邦德现在被怪物强迫面对“可怕的考验”，这似乎是邪恶设计的，旨在导致他痛苦的、漫长的死亡：例如必须忍受致命的障碍赛跑、爬行穿过一条地下隧道，他必须面对有毒蜘蛛的挑战、炙热的高温，最后还要与巨型乌贼进行战斗。
4. Final ordeal (Nightmare Stage): Bond is now forced by the monster to face the ‘terrible ordeal’, which seems fiendishly designed to lead to his painful, long-drawn out death: e.g. having to endure a deadly obstacle race, crawling through a subterranean tunnel, where he has to run the gauntlet of poisonous spiders, roasting heat and finally a battle with a giant squid.
5.奇迹般的逃脱（以及怪物之死）：邦德在严酷的考验中幸存下来，然后凭借聪明才智和力量的奇迹般的壮举，在千钧一发之际扭转了局面，智取并杀死了恶棍。因此，他不仅拯救了自己的生命，还拯救了诺克斯堡、伦敦、人类或任何受到毁灭威胁的事物。怪物死了，邦德可以自由地结束他的冒险，并与被解放的“公主”深情拥抱。
5. The Miraculous Escape (and Death of the Monster): Bond survives the ordeal and then, by a miraculous feat of ingenuity and strength, manages in the nick of time to turn the tables, outwitting and killing the villain. He thus saves not only his own life but Fort Knox, London, mankind or whatever has been threatened with destruction. The monster is dead and Bond is free to end his adventure locked in fond embrace with the liberated ‘Princess’.
科幻小说
Science fiction
就在伊恩·弗莱明（Ian Fleming）出版他的第一部邦德小说时，他的一些英国同时代人正在创作特别引人注目的此类故事的例子，这些故事在过去的一个世纪中复兴了原型怪物的形象，这些怪物比黑暗时代以来故事讲述中所见的任何东西都更加怪诞不人道。以及古希腊的神话。自从 HG 威尔斯在《世界大战》中描述了皮肤坚韧、长着触手的火星人入侵地球的故事以来十九世纪末，除了 1938 年年轻的奥逊·威尔斯通过在电台广播改编自威尔斯小说的美国版而首次声名鹊起的著名插曲外，科幻小说作家并没有就此主题创作出许多重复版本。如此生动地呈现为“现场新闻事件”，以至于在听众中引发了一阵恐慌，他们认为这确实发生了。然而，在 20 世纪 50 年代初，当世界等待太空时代即将到来时，两种类型的科幻故事引人注目地风靡时尚：第一种是继威尔斯之后，以致命的入侵为中心的。来自外太空的怪物对地球的攻击；另一个则讲述了由于人类自身不断增强的技术能力干扰自然而引发的一些威胁世界的灾难。
Just when Ian Fleming was publishing his first Bond novels, some of his British contemporaries were producing particularly striking examples of that type of story which in the past century has revived the imagery of archetypal monsters more grotesquely inhuman than anything seen in storytelling since the Dark Ages and the myths of ancient Greece. Since H. G. Wells had written his account of the invasion of Earth by leathery-skinned, tentacled Martians in The War of the Worlds at the end of the nineteenth century, science fiction writers had not come up with many repeat versions on this theme, apart from the celebrated episode in 1938 when the young Orson Welles first sprang to fame by broadcasting an Americanised adaptation of Wells’s novel on radio, so vividly presented as a ‘live news event’ that it provoked a wave of panic among listeners who thought it was actually happening. In the early 1950s, however, as the world awaited the imminent arrival of the space age, two genres of science fiction story swept conspicuously into fashion: the first, following Wells, centred on deadly invasions of the earth by monsters from outer space; the other featuring some world-threatening catastrophe unleashed by mankind’s own growing technological ability to interfere with nature.
第二种类型的一个著名例子是约翰·温德姆 (John Wyndham) 的《三翼之日》(The Day of the Triffid) (1951)，该作品以两个人类实验的结合开始，但都出现了灾难性的错误。天空中一场壮观的灯光秀，原来是秘密武器的释放，导致绝大多数人类失明。这可疑地与大量三叶草的爆发同时发生，三叶草是经过基因工程改造的食肉植物，它们具有恶意的智力，能够四处移动，并且具有致命的鞭刺，可以捕捉人类作为猎物。
A well-known example of this second genre was John Wyndham’s The Day of the Triffids (1951), which began with a combination of two human experiments going disastrously wrong. A spectacular light show in the heavens turns out to be the unleashing of a secret weapon which renders the vast majority of the human race blind. This suspiciously coincides with the breaking loose of large numbers of triffids, genetically-engineered carnivorous plants which have a malevolent intelligence, the ability to move about and a deadly whiplash sting with which they can catch human beings as their prey.
故事开始于伦敦，以包括男女主角在内的少数幸存者为中心，他们由于各种原因保留了视力。他们最终设法逃离了这座城市，那里的大多数人口无助地成为了漫游三足虫的受害者。当男女主人公分开时，“沮丧阶段”就开始了，大部分动作都是为了寻找她，他选择了危险的方式穿越英格兰南部三叶虫出没的乡村。他们最终在苏塞克斯团聚，一群坚定的幸存者躲在带电围栏后面的一座坚固的农舍里。当越来越多的三叶草围攻农场时，“最后的考验”开始了，它们终于找到了突破栅栏的方法。但在千钧一发之际，幸存者“奇迹般地逃脱了” 与其他人一起前往怀特岛。这里被建立为一个没有三叉戟的庇护所，人类将从这里发起反击，将大陆从占领它的怪物手中解放出来。
The story begins in London, centred on a handful of survivors, including the hero and heroine, who have for various reasons retained their sight. They eventually manage to escape the city, where most of the population are helplessly falling victim to roaming bands of triffids. The ‘frustration stage’ begins when hero and heroine are separated, and much of the action is taken up with his quest to track her down, as he picks his hazardous way across the triffid-infested countryside of southern England. They are finally reunited in Sussex, where a determined band of survivors have holed up in a fortified farmhouse behind an electrified fence. The ‘final ordeal’ begins when an ever-growing mass of triffids lays siege to the farm, finally finding a way to break through the fence. But in the nick of time the survivors make their ‘miraculous escape’, to join others in the Isle of Wight. This has been established as a triffid-free sanctuary, from where humanity’s counterattack is to be launched to liberate the mainland from the monsters who have taken it over.
在他的下一本书《海妖醒来》（1953）中，温德姆转向了另一种类型，其中来自外太空的可怕入侵对人类生存构成了致命威胁。与《三翼之日》一样，故事的力量来自于日常生活的常态突然被神秘现象的出现所扰乱，而其险恶的本质最初并不清楚。然后，行动将通过熟悉的阶段展开：
In his next book The Kraken Wakes (1953), Wyndham switched to the other genre, where the deadly threat to human survival is posed by a monstrous invasion from outer space. As in The Day of the Triffids, the story’s power comes from the way the normality of everyday life is suddenly disturbed by the appearance of mysterious phenomena, the sinister nature of which is not initially clear. The action then unfolds through the familiar stages:
1.期待阶段：世界各地关于海上看到“神秘火球”的报道引起了人们的好奇心。
1. Anticipation Stage: Curiosity is aroused by reports from various parts of the world of ‘mysterious fireballs’ seen at sea.
2.梦想阶段：发生了更严重的事件，例如各种大型船只无法解释的沉没，洋流变色，表明“深海”有大规模的潜艇活动。但这种威胁的真正本质尚不清楚，而且它似乎仍然过于遥远和神秘，不足以证明真正的警报是合理的。
2. Dream Stage: Rather more serious incidents take place, such as the unexplained sinkings of various large ships, and the discoloration of ocean currents, indicating some vast submarine activity in ‘the Deeps’. But the real nature of the menace is not yet clearly in view, and it still seems too remote and mysterious to justify real alarm.
3.挫折阶段：第一次真正的震惊。各个岛屿都遭到神秘袭击，当男女主人公前往西印度群岛调查时，我们第一次看到这些“怪物”的恐怖：巨大的“海坦克”从岸边爬上来，带走了数百人通过致命的丝带状“纤毛”延伸到街道和房屋来捕获它们。人类似乎无力应对这种威胁。袭击事件继续恶化。
3. Frustration Stage: The first real shock. Various islands are mysteriously attacked, and when the hero and heroine visit the West Indies to investigate we actually see the ‘monsters’ in their full horror for the first time: huge ‘sea tanks’, crawling up from the shore and removing hundreds of people by means of deadly ribbon-like ‘cilia’ which stretch out into streets and houses to capture them. It seems mankind is powerless to deal with this threat. The attacks continue to worsen.
4.噩梦阶段：世界冰盖开始融化，全球海平面灾难性上升，世界上很大一部分人口死于各种灾难，几乎所有社会秩序崩溃。
4. Nightmare Stage: The world’s ice caps begin to melt, the sea-level rises catastrophically all over the globe, a large part of the world’s population dies in various disasters and almost all social order breaks down.
5、奇迹逃脱：人类发现不明“法宝”，消灭怪物；海平面停止上升；人类得救了；男女主角幸福地结合在一起；生活开始恢复正常。
5. Miraculous Escape: Humanity finds unspecified ‘magic weapons’ to kill off the monsters; the sea stops rising; humanity is saved; hero and heroine are happily united; life begins to return to normal.
同年，1953 年，就在女王加冕礼促使数百万英国人安装了第一台原始电视机之后，新媒体上第一部吸引全国想象力的连续剧是奈杰尔·尼尔 (Nigel Kneale) 的《夸特马斯实验》(The Quatermass Experiment )，其英雄是一位精明而坚强的科学家伯纳德·夸特马斯教授。作为世界上第一个载人航天项目的负责人，当飞船返回时，三名宇航员中只剩下一名活着，夸特马斯感到震惊。渐渐地人们发现，幸存者维克多·卡隆不仅吸收了两名死去同事的人格，而且还被一些邪恶而巧妙的外星力量所接管，这些力量正在利用他的身体作为接管地球的工具。当卡隆看起来变成了仙人掌和真菌的混合体时，“沮丧阶段”就开始了，然后就消失了。当下次见到他时，他已经变成了一个巨大的、快速增殖的真菌怪物，遍布威斯敏斯特教堂的内部，即将抛出数以百万计的孢子，这将消灭人类，让外星人接管。在这场“最后的考验”中，夸特马斯面对怪物，并令人难以置信地说服仍然神秘地属于它的三个人类抵抗它的影响，尽管这将涉及他们自己的自杀。这导致了人类被拯救的“奇迹逃脱”。
The same year, 1953, just after the Queen’s Coronation had prompted millions of Britons to install their first primitive television sets, the first serial on the new medium to catch the nation’s imagination was Nigel Kneale’s The Quatermass Experiment, with its hero a shrewd and robust scientist, Professor Bernard Quatermass. As head of the world’s first manned space-flight project, Quatermass is horrified when the spaceship returns with only one of the three astronauts alive. Gradually it becomes clear that the survivor, Victor Caroon, has not only absorbed the personalities of his two dead colleagues but has been taken over by some diabolically ingenious extra-terrestrial power which is using his body as a vehicle to take over the earth. The ‘frustration stage’ sets in when Caroon appears to be turning into a cross between a cactus and a fungus, then disappears. When next sighted he has become a huge and fast-proliferating fungoid monster spreading over the interior of Westminster Abbey, about to throw out millions of spores which will wipe out humanity, allowing the aliens to take over. In this ‘final ordeal’, Quatermass confronts the monster and somewhat implausibly persuades the three human beings who are still mysteriously part of it to resist its influence, even though this will involve their own suicide. This leads to the ‘miraculous escape’ by which humanity is saved.
在续集中Quatermass II（1955）我们的英雄再次拯救人类免遭外星入侵，当时他发现从天而降的神秘小陨石含有一种外星生命力，这种生命力会占据任何靠近它们的人类。所发生事件的唯一外在迹象是他们皮肤上的痕迹。然后他发现，在新的僵尸人类盟友的帮助下，外星人在英格兰北部的偏远地区建立了一个神秘的“防御工厂”。当夸特马斯来到伦敦向高层人员发出警报时，“沮丧阶段”开始了政府认为似乎正在发生一些令人震惊的险恶事情。他很惊讶地得到了没有什么可担心的温和保证。但随后，在每种情况下，观察到与他交谈的高级人物的手臂上都有明显的标记。当夸特马斯设法带领代表团参观工厂时，沮丧变成了噩梦。一名成员从小组中分离出来，观察一个巨大的压力穹顶。他因氨中毒而濒临死亡，并说出了“粘液”这个词。夸特马斯猜测外星人正在利用无氧圆顶进行繁殖，然后出现并接管世界。当工厂被一群愤怒的当地人袭击时，“最后的考验”到来了。当他们与僵尸武装守卫发生枪战时，夸特马斯打开穹顶通入氧气，从而消灭了里面的怪物并拯救了人类。当这家工厂遭到一群愤怒的当地人的猛攻时，“最后的考验”到来了。当他们与僵尸武装守卫发生枪战时，夸特马斯打开穹顶通入氧气，从而消灭了里面的怪物并拯救了人类。当这家工厂遭到一群愤怒的当地人的猛攻时，“最后的考验”到来了。当他们与僵尸武装守卫发生枪战时，夸特马斯打开穹顶通入氧气，从而消灭了里面的怪物并拯救了人类。
In the sequel Quatermass II (1955) our hero again saves mankind from extraterrestrial invasion when he discovers that mysterious small meteorites dropping out of the sky contain an alien life-force which possesses any human being who comes near them. The only outward sign of what has happened is a mark on their skin. He then discovers that, with the aid of their new zombified human allies, the aliens have established a mysterious ‘defence plant’ in a remote part of northern England, The ‘frustration stage’ begins when Quatermass comes to London to alert people at the top of government that something astonishingly sinister seems to be going on. He is surprised to receive bland assurances that there is nothing to worry about. But then, in each case, observes that the senior figure to whom he is talking has the telltale mark on his arm. Frustration turns to nightmare when Quatermass manages to visit the plant with a delegation. One member separates from the group to look into a vast pressure dome. He comes out dying of ammonia-poisoning, uttering the one word ‘slime’. Quatermass guesses the aliens are using the oxygen-free dome to reproduce, before emerging to take over the world The ‘final ordeal’ comes when the plant is stormed by an army of angry locals. As they engage in a shoot-out with zombified armed guards, Quatermass opens up the dome to oxygen, thus destroying the monsters within and saving mankind.
尼尔第三部也是最成功的主题作品《夸特马斯与坑》（ Quatermass and the Pit，1958）始于在伦敦的一个建筑工地上发现了一个神秘的建筑。圆筒，最初被认为是一枚未爆炸的战时炸弹。夸特马斯从周围的化石遗迹中意识到，事实上它一定已经在那里存在了五百万年。通过现在熟悉的顺序，最初梦幻般的好奇心首先导致挫败感，然后导致一场失控的噩梦，人们逐渐发现这个圆柱体起源于火星。一个濒临灭绝的文明利用宇宙飞船殖民地球，“从内部占有”人类的史前祖先。最后的“噩梦阶段”开始于夸特马斯意识到大多数人类仍然在不知不觉中受到这种埋藏在无意识中的“火星元素”的影响，而这种影响现在因埋藏太空舱的出土而被激活。火星圆柱体溶解成一个看起来像魔鬼的高耸生物，伦敦陷入混乱，疯狂的暴民发起“狂猎”，追踪并杀死任何以某种方式逃脱其影响的“外来者”。最后，随着半个城市被烧毁，夸特马斯发现消灭这个怪物的唯一方法就是用钢缆短路它的电能。他把这个接地装置扔进了光谱视觉的中心，出现了强大的放电，视觉消失了，它的邪恶力量也停止了。再一次，多亏了我们英明而又不屈不挠的英雄，人类才在千钧一发之际从看似必然的毁灭中被拯救出来。追踪并杀死任何以某种方式逃脱其影响的“外来者”。最后，随着半个城市被烧毁，夸特马斯发现消灭这个怪物的唯一方法就是用钢缆短路它的电能。他把这个接地装置扔进了光谱视觉的中心，出现了强大的放电，视觉消失了，它的邪恶力量也停止了。再一次，多亏了我们英明而又不屈不挠的英雄，人类才在千钧一发之际从看似必然的毁灭中被拯救出来。追踪并杀死任何以某种方式逃脱其影响的“外来者”。最后，随着半个城市被烧毁，夸特马斯发现消灭这个怪物的唯一方法就是用钢缆短路它的电能。他把这个接地装置扔进了光谱视觉的中心，出现了强大的放电，视觉消失了，它的邪恶力量也停止了。再一次，多亏了我们英明而又不屈不挠的英雄，人类才在千钧一发之际从看似必然的毁灭中被拯救出来。幻象消失了，它的邪恶力量也消失了。再一次，多亏了我们英明而又不屈不挠的英雄，人类才在千钧一发之际从看似必然的毁灭中被拯救出来。幻象消失了，它的邪恶力量也消失了。再一次，多亏了我们英明而又不屈不挠的英雄，人类才在千钧一发之际从看似必然的毁灭中被拯救出来。
Kneale’s third and most successful working of the theme, Quatermass and the Pit (1958), begins with the discovery on a London building site of a mysterious cylinder, at first taken to be an unexploded wartime bomb. Quatermass realises from surrounding fossil remains that in fact it must have been there for five million years. Through the now familiar sequence whereby initial dream-like curiosity leads first to frustration, then to a nightmare running out of control, it gradually emerges that the cylinder had originated from Mars. A civilisation threatened with extinction had used the spaceship to colonise the earth, by ‘possessing from within’ the prehistoric ancestors of mankind. The final ‘nightmare stage’ begins when Quatermass realises that most human beings are still unwittingly influenced by this ‘Martian element’ buried in their unconscious, and that this is now being activated by the unearthing of the buried space capsule. The Martian cylinder dissolves into a towering vision of a creature looking like the Devil and London is thrown into chaos, as crazed mobs launch a ‘Wild Hunt’, tracking down to kill any ‘outsider’ who has somehow escaped its influence. Finally, with half the city burning, Quatermass works out that the only way to destroy the monster is to short-circuit its electrical energy with a steel cable. He throws this earthing device into the heart of the spectral vision, there is a mighty electrical discharge, the vision disappears and its malign force ceases. Once again, thanks to our wise and indomitable hero, mankind has been saved in the nick of time from what looked like certain destruction.
然而，所有这些故事的基本五个阶段模式是再熟悉不过了。他们每个人都以好奇心开始，随着怪物真正致命本质的显现而沮丧，进入“噩梦阶段”，灾难似乎不可避免，最后以“奇迹逃脱”结束，他们的模式正是就像我们在童年时最简单的一些故事中第一次看到的一样，例如《杰克和豆茎》、《小红帽》或《金发姑娘和三只熊》。
Yet the underlying five-stage pattern of all these stories is only too familiar. As each of them begins with the arousal of curiosity, then continues with frustration as the monster’s true deadly nature becomes apparent, leading to a ‘nightmare stage’ when catastrophe seems inevitable, finally ending in the ‘miraculous escape’, their pattern is exactly the same as that which we first came across in some of the simplest stories of our childhood, such as Jack and the Beanstalk or Little Red Riding Hood or Goldilocks and the Three Bears.
星球大战
Star Wars
作为最后一个例子，为了强调这种讲故事的模式是多么重要，我们可以看看好莱坞有史以来最成功的科幻电影，乔治·卢卡斯的原版《星球大战》（1977 ）。
As a last example, to underline just how fundamental a pattern to storytelling this is, we may look at what became the most successful science fiction film ever produced by Hollywood, George Lucas’s original Star Wars (1977).
故事发生在“很久很久以前，在一个遥远的星系”，其中的许多行星世界都由一个政府统治。几个世纪以来，在勇敢而光荣的绝地武士的帮助下，它一直作为“共和国”行使着仁慈的影响力。但政府现在已经被一个由神秘的“皇帝”领导的狂热的政客、官僚和企业的阴谋所控制。在这个残暴的新“帝国”中，似乎没有人比残酷的“黑魔王”达斯·维德拥有更大的权力，他曾经是一名绝地武士，现在像路西法一样，是一名“堕落天使”。分散在银河系偏远地区的旧秩序支持者“反叛联盟”，希望有一天能推翻黑暗帝国，为光明势力夺回宇宙。
The story is set ‘long, long ago, in a galaxy far, far away’, the many planetary worlds of which are ruled by one government. For centuries this had exercised benevolent sway as ‘the Republic’, with the aid of the brave and honourable Jedi Knights. But the government has now been seized by a conspiracy of power-crazed politicians, bureaucrats and corporations, headed by a shadowy ‘Emperor’; and no-one, it seems, wields greater power in this tyrannical new ‘Empire’ than the ruthless ‘Dark Lord’ Darth Vader, once himself a Jedi knight, now, like Lucifer, a ‘fallen angel’. Scattered across remote reaches of the galaxy dispossessed supporters of the old order, ‘the rebel Alliance’, are hoping one day to overthrow the dark Empire, to reclaim the universe for the forces of light.
故事以一艘叛军太空船遭到一艘“帝国巡洋舰”的攻击为开场，该巡洋舰的船长是可怕的维德，我们只看到他隐藏在险恶的黑色盔甲中。当他的帝国军队占领了叛军飞船时，一艘微型飞船逃脱了，包含 See Threepio 和 Artoo Deetoo，两个“机器人”或人性化计算机，安全降落在附近行星塔图因的表面。仍然在叛军船上的是美丽的莱娅公主，她是叛军联盟领导人的女儿，被维德俘虏了。
The story opens with a rebel spaceship being attacked by an ‘Imperial cruiser’ captained by the terrifying Vader, whom we only see hidden in menacing black armour. As his Imperial forces take over the rebel ship, a tiny spacecraft escapes, containing See Threepio and Artoo Deetoo, two ‘androids’ or humanised computers, who land safely on the surface of a nearby planet, Tatooine. Still on the rebel ship is the beautiful Princess Leia, daughter of the leader of the rebel Alliance, whom Vader takes prisoner.
因此，我们从熟悉的公主落入“怪物”手中的形象开始。但“黑魔王”迫切想要发现的一件事就是叛军组织秘密总部的下落，这样他就可以摧毁它，从而使帝国彻底取得胜利。他没有意识到的是，足智多谋的公主在机器人逃生之前已经向 Artoo Deetoo 编程了这一重要信息，并紧急请求帮助。傲慢的维达认为他们的小飞船是无人驾驶的，因此犯了致命的错误，让他们逃跑，从而暴露了第一个“盲点”。
We thus begin with the familiar image of a Princess falling into the clutches of the ‘monster’. But the one thing the ‘Dark Lord’ is desperate to discover is the whereabouts of the rebel organisation’s secret headquarters, so he can destroy it, thus making the victory of the Empire complete. What he does not realise is that the resourceful Princess has programmed Artoo Deetoo with this vital information, along with an urgent appeal for help, before the androids bail out. By the fatal mistake of allowing them to escape, because he thinks their little craft is unmanned, the arrogant Vader has revealed a first ‘blind spot’.
直到现在，我们才终于见到了故事中的年轻英雄卢克·天行者，他与叔叔和婶婶住在塔图因一个孤独的农场里，梦想着成为一名太空飞行员。当两个机器人到达农场时，阿图亮起了公主的全息图。卢克立即被她的美貌迷住了。她说出了令人费解的信息“欧比旺·克诺比，你是我唯一剩下的希望”，卢克隐约将这句话与一位神秘的留着胡须的隐士联系起来，“一种巫师”，他住在沙漠更偏远的地方。他和机器人出发去寻找他，在克诺比奇迹般地介入并将他们从沙漠怪物手中拯救出来后，他们发现自己身处“巫师”的洞穴中。老人透露他是最后幸存的绝地武士之一，拥有超自然力量，卢克失踪的父亲是另一个人，也是最勇敢的人之一。克诺比解读了公主的呼救声，请求卢克陪伴他执行一项危险的营救任务。
Only now do we at last meet the young hero of the story, Luke Skywalker, who lives with his uncle and aunt on a lonely farmstead on Tatooine, dreaming of future glory as a space-pilot. When the two androids arrive at the farm, Artoo lights up with a hologram of the Princess. Luke is at once smitten by her beauty. She utters the baffling message ‘Obi-wan Kenobi, you’re my only remaining hope’, which Luke vaguely connects with a mysterious bearded hermit, ‘a kind of sorcerer’, who lives in an even more remote part of the desert. He and the androids set off to find him and, after Kenobi has miraculously intervened to save them from death at the hands of desert-dwelling monsters, they find themselves in the ‘wizard’s’ cave. The old man reveals he is one of the last surviving Knights of the Jedi, with supernatural powers, and that Luke’s lost father had been another, one of the bravest of all. Interpreting the Princess’s cry for help, Kenobi asks Luke to accompany him on a hazardous mission to rescue her.
这标志着“预期阶段”的结束。英雄收到了“召唤”，让他和故事成为焦点。现在我们可以明白这个故事的中心内容是什么了；当英雄回到农庄时，发现抚养他长大的叔叔和婶婶已经被帝国军队蒸发了，他们更加强烈地意识到自己被推向这个神秘的新命运。没有什么可以让他留在家里了。
This marks the end of the ‘Anticipation Stage’. The hero has received the ‘Call’, giving him and the story a focus. We can see now what the story is centrally to be about; and the hero’s sense of being impelled towards this mysterious new destiny is reinforced when they return to the farmstead to find that the uncle and aunt who have brought him up have been vapourised by Imperial troops. There is nothing left to keep him at home.
尽管受到了更多的威胁，但在克诺比的超自然帮助下，卢克还是逐渐组建了一支队伍踏上旅程。在千钧一发之际，在帝国士兵的追击下，他们乘坐一艘看似破旧的旧飞船进行了一次“惊心动魄的逃脱”，驾驶这艘飞船的只是为了钱，而驾驶者是鲁莽的雇佣兵汉·索罗。这使得它们能够甩掉追赶者，以超光速前往神秘目的地。在旅途中，克诺比向卢克传授了一些古老的绝地秘密，尤其是神秘“力量”的重要性，骑士们学会与自己结盟，赋予他们超自然的力量。正如这位睿智的老人所解释的，这是“一个能量场，而且还不止于此”。一种既控制又服从的光环，一种可以创造奇迹的虚无。在故事的这个阶段，英雄和他的同伴似乎享有一种对危险的神奇免疫力：“梦想舞台”。但当我们看到公主受到维德的折磨时，我们想起了其他地方普遍存在的黑暗现实。可怕的酷刑，试图迫使她交出叛军总部——遥远的奥德朗星球的秘密所在。
Despite further threats, fought off with Kenobi’s supernatural aid, Luke gradually assembles a team to make the journey; and in the nick of time, pursued by Imperial soldiers, they make a ‘thrilling escape’ in a deceptively battered old spacecraft, piloted, solely for the money, by a reckless mercenary Han Solo. This enables them to throw off their pursuers as they head off faster than light to their mystery destination. On the journey Kenobi imparts some of the ancient Jedi secrets to Luke, not least the importance of the mysterious ‘force’ with which the Knights learn to ally themselves, giving them supernatural powers. As the wise old man explains, this is ‘an energy field, and something more. An aura that at once controls and obeys, a nothingness that can accomplish miracles.’ During this phase of the story, the hero and his companions seem to enjoy a magical immunity to danger: the ‘Dream Stage’. But we are reminded of the dark reality prevailing elsewhere, as we glimpse the Princess being subjected by Vader to horrific tortures, trying to force her into giving up the secret whereabouts of the rebel headquarters, the distant planet Alderaan.
然后突然，当他们接近目的地时，他们看到了可怕的景象：一个巨大而神秘的人造结构漂浮在他们前方的太空中。它是帝国自己的秘密武器，死星，一艘强大到可以摧毁整个星球的宇宙飞船。这是黑魔王维德囚禁公主的地方。就在他们逼近时，这台可怕的死亡机器将奥德朗，包括公主的父亲，粉碎成了原子。与此同时，英雄和他的同伴们感觉到他们自己的小型飞船本身被一股强大的光束无情地吸进了死星的中心。当他们的船停下来时，他们似乎成了怪物的囚犯。就像邦德一样，当他闯入一个可怕对手的巢穴并落入他的魔掌时，他们就到达了“挫折阶段”。
Then suddenly, as they near their destination, they see the horrifying sight of a vast, mysterious man-made structure floating in space ahead of them. It is the Empire’s own secret weapon, the Death Star, a spaceship so powerful it can destroy a whole planet. This is where the Dark Lord Vader is holding the Princess prisoner. Even as they approach, this monstrous engine of death pulverises Alderaan, including the Princess’s father, to atoms. At the same time, the hero and his companions feel their own small spacecraft itself being sucked inexorably down a powerful beam into the heart of the Death Star. As their ship comes to rest it seems they are the monster’s prisoners. Like Bond, when he penetrates the lair of one of his monstrous opponents and falls into his clutches, they have reached the ‘Frustration Stage’.
现在，“噩梦舞台”的可怕考验开始了，他们一路追赶，受到一个又一个恐怖的威胁，在这座巨大建筑的无尽、黑暗、金属迷宫中徘徊，第一个找到并释放公主。牢房; 然后，他们首先固定住了俘虏它的重力梁，然后一路返回自己的飞船。最后，由于老克诺比在与他曾经的学生黑魔王的肉搏战中牺牲了自己的生命，他们奇迹般地逃脱了，带着被释放的公主在船上——穿过太空飞向另一个未知的星球，在那里，隐藏在丛林中的古老废墟之下，是叛军联盟真正的秘密指挥总部。
Now begins the terrible ordeal of the ‘Nightmare Stage’ as, pursued all the way, threatened by one horror after another, they wander through the endless, dark, metallic labyrinth of this huge structure, first to track down and release the Princess from her prison cell; then to thread their way back to their own spacecraft, having first immobilised the gravity beam which had taken it prisoner. Finally, thanks to old Kenobi sacrificing his life in a hand-to-hand struggle with his one-time pupil, the Dark Lord, they make their miraculous escape, with the freed Princess on board – hurtling through space to another unknown planet where, hidden beneath ancient ruins in a jungle, is the true secret command headquarters of the rebel Alliance.
故事真正的“最终考验”确实开始了，包括卢克在内的一小队太空飞行员，现在已经迷住了公主，就像她迷住了他一样，出发去与黑暗帝国进行最后的决战。宇宙的整个未来都将安息于此。由于阿图为自己编程了死星的整个布局，他们已经了解了它的重要秘密。这座巨大而坚不可摧的结构的整个表面上只有一个微小的孔，一枚精确瞄准的导弹可能会穿透它，击中中央反应堆，也就是它的心脏。在两群小型航天器之间进行了一场致命的长时间空战之后，卢克和达斯维德，英雄和怪物，终于面对面了，这更像是第二次世界大战的混战，而不是太空时代的任何东西。就在英雄似乎失去一切的时候，他奇迹般地得救了。汉·索罗因为唯一的兴趣是金钱而拒绝在战斗中冒生命危险，但最终决定介入，在关键时刻赶到，将维德的飞船无助地炸入太空。与此同时，更神奇的是，卢克与克诺比的超自然“力量”融为一体，无意识地设法在恰到好处的瞬间发射导弹击中目标。卢克和索罗刚撤离到安全距离，整个人造星球就爆炸成数万亿碎片，阳光照亮了宇宙的那个角落好几天。与此同时，更神奇的是，卢克与克诺比的超自然“力量”融为一体，无意识地设法在恰到好处的瞬间发射导弹击中目标。卢克和索罗刚撤离到安全距离，整个人造星球就爆炸成数万亿碎片，阳光照亮了宇宙的那个角落好几天。与此同时，更神奇的是，卢克与克诺比的超自然“力量”融为一体，无意识地设法在恰到好处的瞬间发射导弹击中目标。卢克和索罗刚撤离到安全距离，整个人造星球就爆炸成数万亿碎片，阳光照亮了宇宙的那个角落好几天。
Here indeed begins the true ‘Final Ordeal’ of the story, as a small team of space pilots, including Luke, who has now captivated the Princess as surely as she had entranced him, set off for a final showdown with the Dark Empire, on which the whole future of the universe will rest. Thanks to Artoo having programmed himself with the entire layout of the Death Star, they have learned its vital secret. There is just one tiny aperture on the entire face of that immense, impregnable structure where a perfectly-aimed missile might penetrate to the central reactor which is its heart. After a deadly prolonged aerial battle between two groups of small spacecraft, more reminiscent of a World War Two dogfight than anything belonging to the space age, Luke and Darth Vader, hero and monster, finally come face to face. Just when it seems all is lost for the hero, he is miraculously saved. Han Solo, after refusing to risk his life in the battle because his only interest was money, has decided after all to intervene, arriving in the nick of time to blast Vader’s craft helplessly out into space. Simultaneously, even more miraculously, Luke has become at one with Kenobi’s supernatural ‘force’, unconsciously managing to launch his missiles at just the right split-second to hit the mark. Scarcely have Luke and Solo withdrawn to a safe distance than the whole artificial planet explodes into a trillion fragments, in a sunburst which lights up that corner of the cosmos for days.
怪物已经被打倒了。胜利的英雄们回到联盟总部，受到热烈的欢迎。在一座巨大的寺庙大厅里，在代表来自宇宙各地的人们的疯狂人群面前，他们走向一个一位身着飘逸白衣的容光焕发的人物将在讲台上颁发金牌。当卢克领取奖品时，他几乎听不到欢呼声。他的心思全都被眼前公主的笑容所占据。3
The monster has been overthrown. The victorious heroes return to a tumultuous welcome at the Alliance headquarters. In a vast temple hall, before a delirious crowd representing peoples from all over the universe, they walk up to a dais to be presented with gold medals by a radiant figure dressed in flowing white. As Luke receives his prize, he can scarcely hear the cheers. His thoughts are solely occupied by the smiling face of the Princess before him.3
惊心动魄的死里逃生
The thrilling escape from death
在《战胜怪物》情节的所有这些表达中，我们一次又一次地看到一个对讲故事具有根本意义的时刻：这个时刻，就像怪物本身的特征一样，与许多类型的故事相关，而不仅仅是由此形成的故事。特定情节。
Again and again in all these expressions of the Overcoming the Monster plot we see a moment which is of fundamental significance to storytelling: one which, like the characteristics of the monster itself, is relevant to stories of many kinds other than just those shaped by this particular plot.
让英雄（以及我们作为观众，认同他的命运）的巨大解脱，就在一切似乎都失去了，他的毁灭不可避免时，他奇迹般地逃脱了。总是在千钧一发之际，就在一切似乎都已失败的时候，卢克·天行者才从达斯·维德最后的致命攻击中逃脱；夸特马斯从外星人手中拯救了人类；一小群幸存者逃离了三叉戟的魔掌；詹姆斯·邦德从恶棍手中逃脱；威尔斯入侵的火星人被细菌杀死了；纳瓦罗的大炮被炸毁；正午时的加里·库珀被妻子意外开枪救了；杰克设法从豆茎上爬下来；护林员突然冲进来，从吞噬狼的手中救出了小红帽；金凤花为了躲避三只熊而爬出窗外。死亡迫在眉睫的紧迫感通常表现为英雄或女英雄被困在其中的黑暗、封闭的空间，他们和我们观众突然被解放了。
To the huge relief of the hero (and of ourselves as the audience, identifying with his fate), just when it seems all is lost and that his destruction is inevitable, he makes a miraculous escape. Always it is only in the nick of time, just when all seems lost, that Luke Skywalker escapes from the final deadly assault by Darth Vader; that Quatermass saves mankind from the extra-terrestrials; that the tiny band of survivors escape the clutches of the triffids; that James Bond escapes from the clutches of his villains; that Wells’s invading Martians are killed by bacteria; that the guns of Navarone are blown up; that Gary Cooper in High Noon is saved by the unexpected shot fired by his wife; that Jack manages to scramble back down the beanstalk; that the forester bursts in to save Red Riding Hood from the devouring wolf; that Goldilocks scrambles out of the window to escape the three bears. From the constricting sense of imminent death, often physically represented by some dark, enclosing space in which the hero or heroine is trapped, they, and we the audience, are suddenly liberated.
这个解放的时刻，“惊心动魄的死里逃生”，我们如此熟悉，以至于在某些流行的故事讲述中，它已经成为一种陈词滥调，几乎是一个笑话：“我们说，‘最后一卷被美国骑兵救下了’；” 或者想想老默片中的男主角驰骋而来，抢走被反派绑在迎面而来的火车路上的女主角。汤姆和杰瑞等卡通电影除了一次又一次的“惊心动魄的死里逃生”之外，几乎没有其他内容，就像猫和老鼠被熨平一样，或者连续无情地互相炸死。另一个著名的例子是报纸连续剧中的传奇英雄，他最终陷入了许多不可能的危险之中，甚至连他的创造者也想不出办法来解救他，直到一位同事简单地写下了“用一个强大的束缚杰克”来提供答案。是免费的”。
So familiar is this moment of liberation, ‘the thrilling escape from death’, that in certain kinds of popular storytelling it has become a cliche, almost a joke: ‘saved in the last reel by the US Cavalry’, we say; or think of the hero of the old silent films galloping in to snatch away the heroine who has been tied down by the villain in the path of the oncoming train. Cartoon films like Tom and Jerry are made up of little else except one ‘thrilling escape from death’ after another, as cat and mouse are ironed out flat, or blow each other up in remorseless succession. Another famous instance was that legendary hero of a newspaper serial who was finally trapped by so many impossible dangers that not even his creator could think of a way to extricate him, until a colleague supplied the answer simply by writing in ‘with one mighty bound Jack was free’.
尽管有这样的漫画，但令人惊心动魄的死里逃生的意义却非常深远。这是讲故事中最一致的主题之一，再次出现并再次出现在各种故事中。毫不奇怪的是，我们发现的故事除了惊心动魄的逃脱之外几乎没有其他内容。
Despite such caricatures, the significance of the thrilling escape from death runs very deep. It is one of the most consistent motifs in storytelling, cropping up again and again in stories of every kind. And it is hardly surprising that we should find stories based on little else but the build-up to a thrilling escape.
一个明显的例子是埃德加·爱伦·坡的《坑与钟摆》。我们对这篇短篇小说的主人公一无所知，他是谁，也不知道他为何被监禁。我们所知道的是，他被束缚在某个“黑暗、封闭的空间”（一种牢房形式）中，经历着一系列不断加剧的恐怖。首先他遭到巨型老鼠的攻击。然后，一个巨大、锋利的钟摆越来越靠近他的身体，尽管他用它来切断他的束缚。然后监狱的金属墙壁变得通红，开始向他逼近，让他越来越接近无底井的边缘，直到突然间，就在压迫感变得难以忍受时：
An obvious example is Edgar Allan Poe’s The Pit and the Pendulum. We know nothing of the hero of this short story, who he is or why he has been imprisoned. All we know is that he is tied down in some ‘dark, enclosing space’, a form of prison cell, undergoing a succession of mounting horrors. First he is attacked by giant rats. Then a huge, razor-sharp pendulum swings closer and closer to his body, although he uses this to sever his bonds. Then the metal walls of his prison become red-hot and begin to close in on him, driving him nearer and nearer to the edge of a bottomless well, until suddenly, just as the sense of oppression becomes unbearable:
'火热的墙壁冲了回来。当我昏倒在深渊中时，一只伸出的手臂抓住了我的手臂……法军已进入托莱多。宗教裁判所落入敌人手中。
‘the fiery walls rushed back. An outstretched arm caught my own as I fell fainting into the abyss ... the French army had entered Toledo. The Inquisition was in the hands of its enemies.’
坡在《坠入大漩涡》中探讨了同一主题，其中英雄描述了他的渔船如何被吸进世界上最臭名昭著、最致命的漩涡的黑色、咆哮的洞里。它们沿着水壁盘旋而下，越来越深，直到英雄注意到某些较轻的浮木块不是向下移动，而是向上移动。当船被拖向一定程度的破坏时，他跳出了船，并奇迹般地被带到了安全地带。
Poe explores the same theme in his Descent into the Maelstrom, in which the hero describes how his fishing boat had been sucked down into the black, roaring hole of the world’s most notorious and deadly whirlpool. Deeper and deeper they spiral down the watery walls, until the hero notices that certain lighter pieces of driftwood are being carried not downwards, but upwards. He jumps out of the boat as it is being carried down to certain destruction and, miraculously, is carried up to safety.
还有其他一些故事，只不过是基于这种对不可避免的厄运的无情积累，然后在紧要关头奇迹般的拯救。例如，丹尼尔·笛福的《瘟疫之年》和加缪的《瘟疫》这两部影片的故事背景都发生在一座遭受神秘致命瘟疫袭击的城市。从小事开始，我们感觉到瘟疫的毒力变得越来越明显和可怕，直到似乎没有人能够生存：然后突然间，奇迹般地，它消失了。在这些故事中，神秘的瘟疫扮演着怪物的角色，它的力量所向披靡，致命而无情：除了我们从未面对面看到这个特殊的怪物，因为它不能直接拟人化，而仍然只是一个影子，越来越多威胁性的存在。同样，英雄并不亲自负责战胜怪物；他的职责是战胜怪物。在故事的高潮处，当威胁突然消退时，事情就发生了逆转，就像爱伦·坡在《深坑与钟摆》中的英雄那样。事实上，我们在“克服怪物”标题下引用的其他故事也是如此。例如， 《世界大战》严格来说并不是一个战胜怪物的故事，因为英雄本人与怪物的路线无关；相反，英雄本身与怪物的路线无关。同样的情况也发生在许多随后的故事中，这些故事展示了来自外太空的一些威胁世界的怪物的致命攻击，例如《海妖觉醒》。事实上，我们经历过这样的故事，就像我们经历过爱伦·坡、笛福和加缪的故事一样：通过一个英雄的眼睛，他只是一个或多或少无助的观察者，陷入了一场似乎注定会以死亡告终的噩梦，直到被超出他意识或控制范围的机构所终止。
There are other stories based on little more than this relentless build-up towards some inevitable doom, followed in the nick of time by miraculous deliverance. For instance, Daniel Defoe’s Journal of the Plague Year and Camus’s La Peste are both stories set in a city which has been attacked by a mysterious, deadly pestilence. From small beginnings, we feel the virulence of the plague becoming more and more obvious and terrifying until it seems no one can possibly survive: then suddenly, as by a miracle, it fades away. The mysterious plague in such stories is playing the part of the monster, all-conquering, deadly, remorseless in its power: except that we never see this particular monster face to face because it cannot be directly personified, but remains just a shadowy, increasingly threatening presence. Similarly the hero is not personally responsible for overcoming the monster; at the story’s climax, the reversal comes when the threat suddenly recedes, as it does for Poe’s hero in The Pit and the Pendulum. Indeed the same is true in other stories we have already cited under the heading of Overcoming the Monster. The War of the Worlds, for instance, is not strictly an Overcoming the Monster story, because the hero himself has nothing to do with the routing of the monsters; and the same is true of many of the stories which followed it in showing a deadly attack by some world-threatening monster from outer space, such as The Kraken Wakes. We experience such stories, in fact, much as we do those of Poe, Defoe and Camus: through the eyes of a hero who is merely a more or less helpless observer, sucked into a nightmare which seems certain to end in his death, until brought to an end by agencies beyond his awareness or control.
近年来，这种模式的故事再次以 20 世纪 70 年代以来广受欢迎的“灾难电影”的形式再次为人们所熟知，例如《高耸入云》地狱(1974)。在此之前，一群不同的人在建筑物内部发生电气火灾后的几个小时内被困在一座巨大的摩天大楼中。起初火势很小且未被注意到。很长一段时间以来，我们都知道它正在幕后蔓延，因此人们有一种巨大的威胁感，而表面上，塔里的生活照常进行。但最终，当大火爆发到众目睽睽之下时，它已经变成了一个不可阻挡的怪物，无法控制地肆虐整栋大楼，达到了噩梦的高潮，数百名受害者被困在楼上，似乎注定了死亡。此时他们奇迹般地被提升至安全地带。
Stories on this pattern have again become familiar in recent times in the form of those ‘disaster movies’ so popular from the 1970s onwards, such as The Towering Inferno (1974). This followed the experience of a disparate group of people who become trapped in a huge skyscraper, during the hours after an electrical fire breaks out in the bowels of the building. At first the fire is tiny and unnoticed. For a long time we know it is spreading behind the scenes, so that there is a sense of some enormous growing threat while, on the surface, life in the tower carries on as normal. But finally, by the time the fire has broken out into full view, it has become an unstoppable monster, raging uncontrollably through the whole building to a nightmare climax, when hundreds of victims are trapped on the upper floors, seemingly doomed to certain death. At this point they are miraculously lifted to safety.
《机场》（1970）同样以一群乘客为中心，讲述了一群乘客在夜间被困在一架拥挤的客机的“封闭空间”中，由于一名携带炸弹的疯子的出现，他们面临着即将被毁灭的威胁。至少在这里，威胁被部分拟人化了，当炸弹爆炸，疯子被吸进黑暗中时，“怪物”似乎已经被“克服”了：只不过噩梦的真正来源不是疯子本人，就像他是一个真正的怪物一样，但只是对飞机坠毁的恐惧；这种情况一直持续到，经过巨大的困难，飞机最终被安全地带到地面，这让所有人都松了口气。
Airport (1970) similarly centred on a group of passengers caught in the ‘enclosing space’ of a crowded airliner at night, threatened with imminent destruction by the presence of a madman armed with a bomb. At least here the threat is partly personified, and when the bomb explodes and the madman is sucked out into the darkness, it might seem the ‘monster’ has been ‘overcome’: except that the real source of the nightmare is not the madman himself, as it would be if he were a true monster, but simply the fear of the plane crashing; and this remains until, with enormous difficulty and to universal relief, the plane is at last brought safely to the ground.
事实上，这个英雄从被困在黑暗、封闭的空间、面临死亡威胁的噩梦中解救出来的故事，是世界上最古老的故事之一。一个明显的例子是约拿的故事，他掉进海里，被“大鱼”吞掉了。他在洞穴的内部躺了三天，确信他即将死去：
In fact this story of the hero’s deliverance from the nightmare of being trapped in some dark, enclosing space, threatening death, is one of the oldest in the world. An obvious example is the tale of Jonah, who falls overboard and is swallowed by the ‘great fish’. For three days he lies in its cavernous interior, sure he is about to die:
“水包围着我，甚至包围着我的灵魂；深渊将我包围，杂草缠住了我的头。我下到了山脚下；大地和她的栅栏永远围绕着我。
‘The water encompassed me round about, even to the soul; the depth closed me round about, the weeds were wrapped about my head. I went down to the bottom of the mountains; the earth with her bars was round me forever.’
然后，他的祈祷奇迹般地得到了回应，鱼“把约拿吐到旱地上”。
Then miraculously his prayers are answered, and the fish ‘vomited out Jonah on the dry land.’
当然，乔纳并没有杀死他的“鲸鱼”，这就是为什么他的冒险不能严格地被视为一个克服怪物的故事。但这只是欧洲、北美、波利尼西亚、日本以及几乎世界各地的神话和民间故事中无数英雄被怪物吞噬的故事之一，其中许多英雄确实杀死了怪物。之内。在《海华沙》中，朗费罗给出了一个北美“印第安”版本，他描述了英雄如何去挑战“鱼中之王”米什-纳玛：
Jonah does not, of course, kill his ‘whale’, which is why again his adventure cannot be considered strictly an Overcoming the Monster story. But this is only one of countless tales of a hero swallowed by a monster, found in mythology and folk tales from Europe, North America, Polynesia, Japan and almost all over the world, in many of which the hero does actually slay the monster from within. In Hiawatha Longfellow gives a North American ‘Indian’ version, where he describes how the hero goes to challenge ‘the King of Fishes’, Mishe-Nama:
“他站了起来，做出了愤怒的手势，
‘up he rose with angry gesture,
每根神经和纤维都在颤抖，
quivering in each nerve and fibre,
砍掉他所有的盔甲，
slashing all his plates of armour,
他身上的所有战漆都闪闪发光；
gleaming bright with all his war-paint;
他愤怒地向上冲去，
in his wrath he darted upwards,
闪烁跳跃到阳光下，
flashing leaped into the sunshine,
张开他的大嘴，吞了下去
opened his great jaws and swallowed
独木舟和海华沙。
both canoe and Hiawatha.’
（注意动物“怪物”的拟人化——“盔甲”、“战争油漆”、“愤怒”。）在“那个黑暗的洞穴”中，英雄“在无助的惊奇中摸索”，直到他找到了鱼的“伟大的心脏”殴打并杀死它。尸体漂到岸上，希瓦塔“从洞穴中兴奋不已”，向鸟儿大声喊叫他如何杀死了这个巨大的怪物，而它们救了他。
(Note the familiar anthropomorphisation of the animal ‘monster’ – ‘armour’,‘war-paint’, ‘wrath’.) In ‘that darksome cavern’ the hero ‘groped about in helpless wonder’ until he finds the fish’s ‘great heart beating’ and slays it. The corpse drifts ashore, and Hiwatha, ‘exulting from the caverns’, cries out to the birds how he has killed the great monster, and they rescue him.
在设得兰群岛的民间传说中，这个故事讲述的是阿西帕特尔的故事，他受到他的兄弟们（如小牧童大卫）的蔑视。但只有他一个人有足够的勇气去挑战伟大的“斯图尔沃姆大师”，它的体型如此之大，以至于横跨了半个世界，并从它的手中救出了一名被俘虏的公主。阿西帕特抓住一块燃烧的泥炭，任由自己被吞下，然后将生煤放在怪物的肝脏上：“说实话，我认为它给了斯图尔沃姆一个热的哈皮特”。然后（就像许多其他版本一样）英雄在垂死的痉挛中被怪物喷了出来，并赢得了公主的手。
In the folklore of the Shetlands, the story was told as that of Assipattle, who is treated with contempt by his brothers (like the little shepherd boy David). But he alone is brave enough to challenge the great ‘Mester Stoorwoorm’, so huge that it stretches half across the world, to rescue from its clutches a captive Princess. Clutching a burning piece of peat, Assipattle allows himself to be swallowed, and places the live coal on the monster’s liver: ‘in troth, I think it gave the Stoorwoorm a hot harskit’. Then (as in many other versions) the hero is spewed out by the monster in its dying spasm, and wins the hand of the Princess.
战胜怪物：总结
Overcoming the Monster: Summing up
在人类的想象中，故事似乎很自然地形成，其中一种方式表明英雄被要求面对并克服可怕而致命的邪恶化身。这个威胁性人物的定义是，它是无情的、以自我为中心的、看似无所不能的，尽管我们最终看到它有一个盲点，使其变得脆弱。正如故事通常呈现的那样，最终的决战有一个漫长的准备过程，故事很可能会经历以下五个阶段：
One way in which a story seems naturally to form in the human imagination shows the hero being called to face and overcome a terrible and deadly personification of evil. This threatening figure is defined by the fact that it is heartless, egocentric and seemingly all-powerful, although we ultimately see that it has a blind spot which renders it vulnerable. As the story is usually presented, there is a long build-up to the final decisive confrontation, and the story is likely to to run through these five stages:
1.预期阶段和“召唤”：我们通常首先会意识到怪物，就好像从很远的地方一样，尽管在某些故事中我们可能会在一开始就看到它的破坏力。尽管最初我们可能只是将其视为一种隐约具有威胁性的好奇心，但我们逐渐了解到它可怕的名声，以及它通常如何对某些社区、国家、王国或整个人类投下威胁性的阴影。然后英雄会经历一个“召唤”来面对它。
1. Anticipation Stage and ‘Call’: We usually first become aware of the monster as if from a great distance, although in some stories we may be given some striking glimpse of its destructive power at the outset. Although initially we may see it as little more than a vaguely menacing curiosity, we gradually learn of its fearsome reputation, and how it is usually casting its threatening shadow over some community, country, kingdom or mankind in general. The hero then experiences a ‘Call’ to confront it.
2.梦想阶段：当英雄为即将到来的战斗做准备时（例如，当他走向怪物或当怪物接近时），有一段时间似乎一切都进展得相当顺利。我们的感觉仍然是一种远离危险、免受危险的舒适感。
2. Dream Stage: As the hero makes his preparations for the battle to come (e.g., as he travels towards the monster or as the monster approaches), all for a while may seem to be going reasonably well. Our feelings are still of a comfortable remoteness from and immunity to danger.
3.挫败阶段：我们终于与拥有可怕力量的怪物面对面了。英雄看起来很渺小，而且在面对如此强大的对手时显得非常孤独。确实，他似乎正在滑入怪物的力量之中（他甚至可能无助地落入怪物的魔掌中），而这场斗争只能有一个结果。
3. Frustration Stage: At last we come face to face with the monster in all its awesome power. The hero seems tiny and very much alone against such a supernaturally strong opponent. Indeed it seems that he is slipping into the monster’s power (he may even fall helplessly into the monster’s clutches), and that the struggle can only have one outcome.
4.噩梦阶段：最后的考验开始了，一场噩梦般的战斗，所有的胜算似乎都落在了怪物一边。但在故事的高潮，就在一切似乎都已失败的时候，“逆转”来了。
4. Nightmare Stage: The final ordeal begins, a nightmare battle in which all the odds seem loaded on the monster’s side. But at the climax of the story, just when all seems lost, comes the ‘reversal’.
5、惊心动魄的死里逃生、怪物之死：千钧一发之际，怪物奇迹般地受到致命一击。它的黑暗力量被推翻了。陷入其阴影下的社区获得了解放。然后英雄就出现了充分享受他从怪物手中赢得的奖品：一件巨大的宝藏；与“公主”结合；某种“王国”的继承。
5. The Thrilling Escape from Death, and Death of the Monster: In the nick of time, the monster is miraculously dealt a fatal blow. Its dark power is overthrown. The community which had fallen under its shadow is liberated. And the hero emerges in his full stature to enjoy the prize he has won from the monster’s grasp: a great treasure; union with the ‘Princess’; succession to some kind of ‘kingdom’.
收缩与释放
Constriction and release
这个情节中的一个元素对我们的影响是如此强大——当英雄似乎陷入怪物的力量时，噩梦感与日俱增，随后他惊心动魄地从死亡中逃脱，感到如释重负——以至于整个小组都感到震惊。故事已经发展起来，它们只使用故事中的这个元素来构建自己的情节。这有助于介绍故事构建方式以及我们体验故事的方式的另一个非常重要的一般方面。
So powerful is the effect on us of one element in this plot – the growing sense of nightmare as the hero seems to be slipping into the monster’s power, followed by the surge of relief at his thrilling escape from death – that a whole sub-group of tales has grown up which use just this element in the story to make a plot in itself. And this serves to introduce another very important general aspect of the way stories are constructed, and the way in which we all experience them.
在最基本的层面上，每当我们认同英雄或女英雄的命运时，我们都会随着故事在特定意义上的展开而分享他们的经历。当他们面临磨难或受到威胁时，我们会感到紧张和担忧；即使在极端的情况下，我们也害怕得几乎无法观看或聆听。当威胁解除后，我们就可以放松了。我们自己的精神得到了扩展。换句话说，随着故事的中心人物，我们要么感到压抑，要么感到解放。要么被封闭、被压迫，要么被开放。在一个结构良好的故事中，收缩和释放的这些阶段以一种收缩期-舒张期的节奏交替出现，这是我们从故事中获得的最大乐趣之一。
At the most basic level, whenever we identify with the fate of a hero or heroine, we share their experience as the story unfolds in a particular sense. As they face ordeals, or come under threat, so we feel tense and apprehensive; even in extreme cases so terrified that we can scarcely bear to watch or listen. As the threat is lifted, we can relax. Our own spirits are enlarged. In other words, along with the story’s central figure, we feel a sense either of constriction, or of liberation; either of being shut in and oppressed, or of being opened out. And in a story which is well-constructed, these phases of constriction and release alternate, in a kind of systole-diastole rhythm which provides one of the greatest pleasures we get from stories.
但当然，这些交替在整个故事中并不是均匀分布的。随着故事的展开，从一极到另一极的摇摆可能会变得更加极端，直到通常最暴力的时刻出现在故事即将结束、达到高潮之前。这是黑暗力量压力最大、最具威胁的时刻，随之而来的是奇迹般的逆转和结局的释放。
But of course these alternations are not evenly pitched throughout the story. As it unfolds, the swings from one pole to the other may become more extreme until usually the most violent of all comes just before the end, with the story’s climax. This is the point where the pressure of the dark power is at its greatest and most threatening, followed by the miraculous reversal and release of the ending.
如果我们再看一次《杰克与魔豆》举个简单的例子，随着杰克和他的母亲变得越来越穷，我们最初感到一种模糊的压抑感。他们该如何摆脱困境呢？然后，当我们跟随杰克登上豆茎并在顶部兴奋地发现一个全新的神秘世界时，我们的精神振奋了。当杰克进入城堡，并开始在巨人的威胁阴影下通过时，我们感到一种更猛烈的收缩。这种情况发生了三次，期间杰克带着金宝藏逃跑了（每一次都比上一次更有价值）。但第三次，巨人被激怒了，发起了愤怒的追击。当杰克跑回来，在一场噩梦般的追逐中爬下豆茎时，他似乎即将被身后越来越近的巨人抓住。这是故事的高潮，也是紧缩最严重的时候，直到千钧一发之际，杰克成功摧毁了豆茎和巨人。阴影终于消散了。我们感到一股解放的浪潮；随着它的消逝，我们留下了温暖的认识：在英雄从巨人手中夺取的宝藏中，他对生活赢得了更深的把握，这种把握将无限期地持续到未来。正如那句话所说，他将“从此幸福快乐地生活”。
If again we take Jack and the Beanstalk as a simple example, we initially feel, as Jack and his mother become poorer and poorer, a vague sense of constriction. How are they going to escape from their plight? As we then follow Jack up the beanstalk and his exhilarated discovery of a whole new mysterious world at the top, our spirits expand. As Jack enters the castle, and begins to pass under the menacing shadow of the giant, we feel a more violent constriction setting in. Three times this happens, punctuated by Jack’s escapes with the golden treasures (each more valuable than the last). But on the third occasion the giant is roused to angry pursuit; and, as Jack runs back to scramble down the beanstalk in a nightmare chase, it seems he is about to be caught by the giant thundering ever closer behind him. This is the climax of the story, when constriction is at its most acute, until in the nick of time Jack manages to bring beanstalk and giant crashing to destruction. The shadow is at last lifted. We feel a surge of liberation; and as it fades, we are left with the warming knowledge that, in the treasures he has won from the giant’s grasp, the hero has won some much deeper hold on life which will last indefinitely into the future. As the phrase has it, he will ‘live happily ever after’.
换句话说，我们对故事的体验的最内在的节奏是最初的收缩感，然后是相对扩大的阶段，然后是更严重的收缩。然后故事进入高潮，英雄面临的威胁压力达到最大。这是在最终的、更深刻的解放行动中释放出来的，伴随着一种感觉，即从黑暗中赢得了一些不可估量和持久价值的东西。
In other words, the inmost rhythm of our experience of the story is of an initial sense of constriction, followed by a phase of relative enlargement, followed by a more serious constriction. Then the story works up to its climax, when the threatening pressure on the hero is at its greatest. This is released in a final, much deeper act of liberation, coupled with the sense that something of inestimable and lasting value has been won from the darkness.
这就是大多数克服怪物故事的基本结构。但是，正如我们将看到的，这种基本节奏对于我们讲故事的方式是如此重要，以至于我们几乎在所有讲故事的过程中都以不同的形式发现了它。
Such is the underlying structure of most Overcoming the Monster stories. But, as we shall see, this fundamental rhythm is so central to the way we tell stories that we find it, in different guises, almost all through storytelling.
我们现在可以继续我们的第二个情节。
We can now move on to our second plot.
第三章
白手起家
Chapter 3
Rags to Riches
“虽然目前K.很可怜，被人瞧不起，但在几乎难以想象的遥远的未来，他会超越所有人。”
‘Though for the moment K. was wretched and looked down on, yet in an almost unimaginable and distant future he would excel everybody.’
弗朗茨·卡夫卡《城堡》
Franz Kafka, The Castle
在讲述世界的故事中，我们一次又一次地遇到某种形象，它似乎对我们有着特殊的魅力。我们看到一个普通的、微不足道的、被所有人视为无足轻重的人，突然走到舞台中央，显露出一个非常非凡的人。
Again and again in the storytelling of the world we come across a certain image which seems to hold a peculiar fascination for us. We see an ordinary, insignificant person, dismissed by everyone as of little account, who suddenly steps to the centre of the stage, revealed to be someone quite exceptional.
一位默默无闻的小乡绅陪伴他的主人前往伦敦，参加围绕新国王选举的庄严仪式。圣保罗教堂墓地里出现了一块巨大的石头，上面固定着一把剑，上面刻着：谁能拔出这把剑，谁就将成为国王。这个国家所有的伟人都尝试过，但都失败了。但令所有人惊讶的是，那位不知名的年轻乡绅上前一步，毫不费力地拔出了剑。他成为亚瑟王，他的国家有史以来最伟大的国王。
An obscure little squire accompanies his master up to London for the solemn ceremonies surrounding the choice of a new king. A mighty stone has appeared in St Paul’s churchyard, with a sword fixed in it and the inscription that anyone who can pull out the sword shall be king. All the great men of the nation try and fail. But to everyone’s astonishment the unknown young squire steps forward and removes the sword effortlessly. He becomes King Arthur, the greatest king his country has ever known.
一只笨拙的小鸭子，外表与他所有的兄弟姐妹截然不同，因自己的体型和笨拙而受到嘲笑而感到痛苦，他出发进入这个世界，在那里他看到了令人惊叹的景象——一些白色的大鸟，比它还要美丽。任何他所知道的事情。它们是天鹅，但它们飞走了过冬，留下的小鸭子比以往任何时候都更加痛苦。春天终于来了，他看到湖上有三只天鹅。他游向“王”鸟，担心像其他人一样，它们只会嘲笑他的丑陋。他忧心忡忡地低下头，看到了水中自己的倒影。令他惊讶又高兴的是，他不知不觉地发现自己变成了一只天鹅——用一位旁观者的话说，“天鹅中最美丽的”。
A little ungainly duckling, quite different in appearance from all his brothers and sisters, miserable at being ridiculed for his size and clumsiness, sets out into the world where he sees a sight which takes his breath away – some great white birds, more beautiful than anything he has ever known. They are swans, but they fly away for the winter, leaving the duckling more miserable than ever. Finally spring comes, and he see three swans on a lake. He swims towards the ‘kingly’ birds, fearing that, like everyone else, they will only mock him for his ugliness. He lowers his head in apprehension and catches sight of his reflection in the water. To his astonishment and joy, he sees that, without knowing it, he has become a swan himself – in the words of an onlooker, ‘the most beautiful of all’.
一个脏兮兮、衣衫褴褛的伦敦小花贩，被路人视为垃圾，却在街上被一位杰出的语音学教授捡到。她远离尘世，被擦得干干净净，穿上漂亮的衣服，她那饱受折磨的元音也逐渐融入了贵族口音。几个月后，她第一次出现在公众面前，参加了一场盛大的舞会，伦敦时尚界的精英出席了舞会。当她进来时，大家都惊叹于她的美丽和举止，许多在场的人都认为她是一位公主。
A dirty, ragged little Cockney flower-seller, treated by passers-by almost as refuse, is picked up in the streets by a distinguished professor of phonetics. Hidden away from the world, she is scrubbed clean, given fine clothes and her tortured vowels are gradually moulded into the accents of the aristocracy. A few months later, she is brought into public for the first time, when she is taken to a grand ball, attended by the cream of London’s fashionable society. As she enters, there are gasps of astonishment at her beauty and bearing, and she is taken by many present to be a princess.
在我们这个时代的流行故事讲述中，很少有图像比克拉克·肯特（Clark Kent），那个杂草丛生、戴着眼镜的那一刻更生动地固定在人们的脑海中。报纸记者，突然变身“超人”，全能的纠正世界错误的人；或者当大力水手，一个步履蹒跚、无能的水手吞下他的菠菜罐头，膨胀成一个肌肉发达的英雄，毫不费力地消灭了那个一直把注意力集中在大力水手无助的女朋友身上的恶霸。很少有旧的前女权主义好莱坞的陈词滥调能像英俊的英雄摘下朴素的、戴眼镜的女孩的眼镜，放下她紧紧盘起的头发，敬畏地凝视着她并惊呼“哎呀......但是你“很漂亮”。
Few images in the popular storytelling of our time have fixed themselves more vividly in the mind than the moment when Clark Kent, the weedy, bespectacled newspaper reporter, is suddenly transformed into ‘Superman’, the all-powerful righter of the world’s wrongs’; or when Popeye, the shambling, ineffectual sailor-man, swallows his tin of spinach and swells up into a bulging-muscled hero, effortlessly despatching the bully who has been forcing his attentions on Popeye’s helpless girlfriend. Few clichés of old pre-feminist Hollywood were so well-tried as the moment when the handsome hero removed the plain, bespectacled girl’s glasses, let down her tightly-coiled hair, gazed at her with awe and exclaimed ‘Gee ... but you’re beautiful’.
在所有这些场景中，一个在世人看来很平常的人，戏剧性地表现出隐藏着第二个、更非凡的自我的潜力。不知何故，当另一个更伟大的自我出现时，转变的时刻就会有一种奇怪的力量来感动我们。我们从这种转变开始，因为它是我们第二个情节“白手起家”的核心。
In all these scenes, someone who has seemed to the world quite commonplace is dramatically shown to have been hiding the potential for a second, much more exceptional, self within. Somehow the moment of transformation when this other greater self emerges has a strange power to move us. And we begin with this transformation because it lies at the heart of our second plot, ‘Rags to Riches’.
在我们生命的早期，我们大多数人都熟悉这样一个故事。
Early in our lives, most of us became familiar with a story which ran something like this.
从前，有一位年轻的男女主人公，还没有成年，生活条件卑微、十分困难。这个卑微的小人物，几乎可以肯定是一个孤儿，被周围的大多数人认为没有什么价值，甚至可能受到积极的虐待。但有一天，发生了一件事情，让我们的男女主人公来到了这个世界，在那里他们遇到了一系列的冒险，最终给他们的命运带来了奇迹般的转变。他们从昔日悲惨的阴影中走出来，登上了令人眼花缭乱的辉煌地位，赢得了所有见过他们的人的钦佩。英雄娶了一位美丽的公主为妻；女主角赢得了英俊王子的爱情。他们成功地统治了一个王国。从那天起，他们“从此过上了幸福的生活”。
Once upon a time there was a young hero or heroine, not yet embarked on adult life, living in lowly and very difficult circumstances. This humble little figure, almost certainly an orphan, was regarded as of little worth by most people around, and may even have been actively maltreated. But one day something happened to send our hero or heroine out into the world where they met with a series of adventures which eventually brought about a miraculous transformation in their fortunes. Emerging from the shadows of their wretched former state, they were raised to a position of dazzling splendour, winning the admiration of all who beheld them. The hero won the hand in marriage of a beautiful Princess; the heroine won the love of a handsome Prince. They succeeded to rule over a kingdom. And from that day forth they lived ‘happily ever after’.
童年时期的我们对这个情节如此熟悉，以至于我们认为它几乎不变的规律性是理所当然的。这当然是关于小孤儿灰姑娘如何衣衫褴褛，被残酷的继母和虚荣的继姐妹强迫坐在灰烬中的故事，在她的仙女教母的帮助下，她可以出去参加舞会，并最终为她赢得了冠军。与她的王子结婚。讲述了小孤儿阿拉丁如何被邪恶的“叔叔”巫师带出城市，取回神灯，从而开始了一系列奇怪的冒险，使他成为一个富有且受人尊敬的民族英雄。 ，赢得了公主的芳心，并最终继承了她父亲苏丹的王国。这是关于《穿靴子的猫》中不幸的小孤儿英雄如何度过的故事除了他的猫，他在世界上一无所有，但通过猫的巧妙技巧，他变成了宏伟的卡拉巴斯侯爵，拥有一座宏伟的城堡和庄园——足以赢得国王女儿的芳心。故事讲述了小孤儿迪克·惠廷顿来到伦敦，过着贫困的生活，但在他的猫的帮助下，他赢得了一笔巨额财富，娶了一位富商的美丽女儿，并成为“三次伦敦市长”。
So familiar did this plot become to us in childhood that we take its almost unvarying regularity for granted. It is of course the story of how the little orphan Cinderella, dressed in rags and forced to sit in the ashes by her cruel stepmother and vain stepsisters, is enabled by her fairy godmother to go out to the the ball – which eventually wins her the hand in marriage of her Prince. It is the story of how the little orphan Aladdin is led out of the city by his wicked ‘uncle’, the Sorcerer, to retrieve the magic lamp, thus embarking on the strange series of adventures which transform him into a rich and admired national hero, winning the hand of the Princess and finally succeeding to the kingdom of her father, the Sultan. It is the story of how the unhappy little orphan hero of Puss in Boots, left with nothing in the world but his cat, is transformed by the cat’s ingenious tricks into the magnificent Marquis of Carabas, complete with a great castle and estates – fit to win the hand of the King’s daughter. It is the story of how the little orphan Dick Whittington comes up to London to live in poverty but, again with the aid of his cat, wins a fabulous fortune, marries a rich merchant’s beautiful daughter and becomes ‘thrice Lord Mayor of London’.
我们小时候遇到的白手起家故事的大部分变体都是根据民间故事改编的，也许直到我们开始阅读来自许多不同国家和文化的民间故事，我们才会意识到这种类型的故事有多么普遍。民俗学者认为，我们所知的灰姑娘故事的基本轮廓已经产生了一千多个不同的版本，在欧洲、非洲、亚洲的各个角落都有发现（已知最早的版本可以追溯到第九世纪） -世纪中国）和北美土著人民中。白手起家主题的其他排列在民间传说中经常出现，因此仅就这一点而言，它就必须被视为世界上最基本的故事之一。
Most of the variations on this Rags to Riches story we met in childhood were adapted from folk tales, and it is perhaps not until we begin reading through folk stories from many different countries and cultures that we come to appreciate how universal this type of story is. The basic outline of the story we know as Cinderella is reckoned by the students of folklore to have given rise to well over a thousand different versions, found in every corner of Europe, in Africa, in Asia (the earliest known version dates back to ninth-century China) and among the indigenous peoples of North America. Other permutations on the Rags to Riches theme appear so often in folklore that on this score alone it must be regarded as one of the most basic stories in the world.
但是，卑微的、被忽视的小英雄或女英雄从阴影中走出来，走向光荣命运的故事当然不仅仅局限于民间故事。我们已经接触过一些熟悉的例子，例如中世纪亚瑟王故事的开头情节；或者现代童话故事中衣衫褴褛的小花童伊丽莎·杜利特尔 (Eliza Doolittle) 转变为一位伟大而美丽的女士，这使得《窈窕淑女》成为我们这个时代最受欢迎的舞台和电影音乐剧之一（尽管没有萧伯纳最初在《皮格马利翁》中的幸福结局，伊莉莎最终在那里结婚并从此过上了幸福的生活）。
But the story of the humble, disregarded little hero or heroine who is lifted out of the shadows to a glorious destiny is by no means, of course, confined only to folk tales. We have already touched on such familiar examples as the opening episodes in the mediaeval story of King Arthur; or the modern fairy-tale transformation of the ragged little flower-girl Eliza Doolittle into a grand and beautiful lady which made one of the most popular stage and film musicals of our time, My Fair Lady (although without Shaw’s original happy ending in Pygmalion, where Eliza finally marries and lives happily ever after).
我们几乎可以在所有讲述故事的形式中找到白手起家的主题。它与《圣经》中约瑟夫的故事一样古老，约瑟夫是一个小梦想家，他的兄弟们非常鄙视他，甚至想杀死他，但他最终成为法老的首席大臣，统治强大的埃及王国。它和好莱坞在我们这个时代制作的无数版本一样现代，因此“白手起家的故事”这个词现在很可能让许多人想起这样的电影，讲述了一个贫穷、默默无闻的合唱团女孩如何成长。通过跳舞成为明星，或者一个来自贫民窟的贫穷男孩通过奋斗成为世界拳击冠军。
We can find the Rags to Riches theme in almost every form in which stories have been told. It is as ancient as the biblical story of Joseph, the little dreamer so despised by his brothers that they want to kill him, who eventually rises to a position as the Pharaoh’s chief minister, ruler over the mighty kingdom of Egypt. It is as modern as the countless versions produced in our own time by Hollywood, so that the very phrase ‘rags to riches story’ is these days likely to conjure up for many people the type of film which shows how a poor, obscure chorus girl dances her way to stardom or a poor boy from the slums battles his way to the top to become a world boxing champion.
事实上，有某些类别的流行故事似乎很自然地被“白手起家”的情节所吸引，以至于我们经常认为这种故事及其“童话般的幸福结局”本质上相当简单和感伤，愿望的满足而不是伟大的文学。例如，白手起家的主题传统上与主要由女性撰写并为女性撰写的浪漫小说类型联系在一起，讲述一些贫穷而美丽（或朴素而被忽视，但暗地里令人钦佩）的女主人公如何从默默无闻走向成功。赢得王子、风度翩翩的公爵或百万富翁的心。除了众所周知的民间故事改编之外，专门为儿童编写的故事一直在很大程度上依赖于白手起家的主题：例如，我们可能会认为，那些维多利亚时代的学校故事讲述了一个新男孩如何在最初的欺凌和虐待的磨难中幸存下来，并成为学校的队长；或者那些二十世纪的女孩故事，讲述了一个小女主人公最终实现了她在一家著名芭蕾舞团跳舞的梦想。
Indeed there are certain categories of popular storytelling which seem so naturally drawn to the Rags to Riches plot, that we often think of this kind of story, with its ‘fairy tale happy endings’, as being essentially rather simple and sentimental, the stuff of wish-fulfilment rather than great literature. The Rags to Riches theme has, for instance, traditionally been associated with that type of romantic fiction which was mainly written by and for women, telling of how some poor and beautiful (or plain and disregarded, but secretly admirable) heroine rises from obscurity to win the heart of a prince, dashing duke or millionaire. Quite apart from the well-known adaptations of folk tales, stories specially written for children have always relied heavily on the Rags to Riches theme: we may think, for instance, of those Victorian school stories which told of how a new boy survived the initial ordeals of bullying and maltreatment to become Captain of the School; or those twentieth-century tales for girls which showed a little heroine eventually fulfilling her dream of dancing with a famous ballet company.
但同样，白手起家的情节也启发了西方文学中一些最严肃、最受推崇的小说。一个明显的例子是大卫·科波菲尔，在其中我们看到一个不幸、受迫害的小孤儿如何走向世界，并最终在经历了许多冒险之后成为一名富有而著名的作家，最后，在最后几页中，他幸福地与他的“真正的天使”艾格尼丝·伍德沃德结合在一起。在《简·爱》中，我们再次追踪一个不幸、受迫害的灰姑娘般的小孤儿的命运，她走进了这个世界，最终成为一名女继承人，并克服重重困难，嫁给了她深爱的“王子”罗切斯特先生。在每一部小说中，塑造故事的基本情节正是那些童年童话故事的情节：一开始的不幸和被忽视的小孩子，在人生的沧桑中逐渐成长和成熟，直到最后他或她被提升到一种光荣的幸福和满足的状态，最终与心爱的“另一半”结合在一起。
But equally the Rags to Riches plot has inspired some of the most serious and admired novels in Western literature. An obvious example is David Copperfield, in which we see how an unhappy, persecuted little orphan goes out into the world and eventually rises, after many adventures, to become a rich and famous writer, at last happily united in the closing pages to his ‘true angel’, Agnes Woodward. In Jane Eyre we again follow the fortunes of an unhappy, persecuted little Cinderella-like orphan as she goes out into the world, where she eventually becomes an heiress and, against all odds, marries her adored ‘Prince’ Mr Rochester. In each of these novels the fundamental plot shaping the story is precisely that of those childhood fairy tales: that of the unhappy and disregarded little child at the beginning gradually developing and maturing through the vicissitudes of life to the point at the end where he or she is raised up to a state of glorious happiness and fulfilment, united at last with a beloved ‘other half’.
总的来说，这样的故事显然对人类的想象力具有深刻的吸引力。但当我们更仔细地观察这些故事的广泛横截面时，我们发现它们有更多的共同点，而不仅仅是模糊的、概括的轮廓。每当我们在讲故事的过程中发现白手起家的主题时，我们都可能会对其某些特征不断重复出现感到震惊。
In general terms, such a story obviously makes some profound appeal to the human imagination. But when we come to look more closely at a wide cross-section of such stories, we find that they have much more in common than just a vague, generalised outline. Wherever we find the Rags to Riches theme in storytelling, we may be struck by how constantly certain of its features recur.
首先，比任何其他类型的情节更一致的是，白手起家的故事首先向我们介绍了童年时期的男女主角，或者至少是在他们冒险登上舞台之前的很小的时候。世界。到目前为止，它们还没有完全成型，我们意识到，这个故事在某种程度上与成长的过程有关。
First of these is that, more consistently than in any other type of plot, the Rags to Riches story first introduces us to its hero or heroine in childhood, or at least at a very young age before they have ventured out on the stage of the world. As yet they are not fully formed, and we are aware that in some essential way the story is concerned with the process of growing up.
当我们第一次看到他们的初始状态时，总是强调小英雄或女主角是如何处于最底层的，似乎不如周围的每个人。他们常常是最小的孩子，但也因此而被忽视。因此，他们开始于周围更有统治地位的人物投下的阴影中，这些人物不仅看不到他们的优点，而且通常与他们深深敌对。
When we first see them in this initial state, it is always emphasised how the little hero or heroine are at the bottom of the heap, seemingly inferior to everyone around them. Often they are the youngest child, and disregarded for being so. They thus begin in the shadows cast by more dominant figures around them, who not only can see no merit in them but are usually deeply antagonistic to them.
这些在故事早期阶段给男女主人公蒙上阴影的“黑暗”人物主要分为两大类。首先，她们可能是成人人物，常常扮演父母的角色，比如灰姑娘邪恶的继母，取代了她慈爱的亲生母亲；或者大卫·科波菲尔残酷的继父默德斯通先生和他冷酷的妹妹默德斯通小姐，他们在他的亲生父母去世后取代了他们；或者简·爱的监护人里德阿姨，以及可怕的布罗克赫斯特先生，他把她带到了孤儿院。其次是那些在年龄和地位上更接近男女主人公的人物：灰姑娘虚荣、轻蔑的继姐妹；约瑟夫的敌对哥哥想要杀死他；丑小鸭的小伙伴们和农场里的其他动物一起嘲笑他的笨拙和丑陋。
These ‘dark’ figures who overshadow the hero or heroine in the early stages of the story fall into two main categories. Firstly they may be adult figures, often acting in the place of a parent, such as Cinderella’s wicked stepmother, who replaces her loving real mother; or David Copperfield’s cruel stepfather Mr Murdstone, and his grim sister Miss Murdstone, who replace his real parents when they die; or Jane Eyre’s guardian Aunt Reed, and the fearsome Mr Brocklehurst, who takes her away to an orphanage. Secondly there are those figures nearer to the hero or heroine in age and status: Cinderella’s vain, scornful stepsisters; Joseph’s hostile older brothers, who want to kill him; the Ugly Duckling’s fellow ducklings who, along with the other animals of the farmyard, jeer at him for his awkwardness and ugliness.
无论他们属于哪一类，这些黑暗的人物总是以同样的方式呈现。他们对男女主人公的蔑视态度既是铁石心肠又是盲目的：他们既无法感受到他们的感受，也无法察觉到他们的真实品质。她们也像灰姑娘的继姐妹一样，完全以自我为中心：虚荣、自大、脾气暴躁、虚伪，只关心自己的利益。在故事的后期，其他“黑暗”人物可能会出现，站在男女主角和他们的最终目标之间：正如我们在大卫·科波菲尔（David Copperfield）争夺艾格尼丝之手的对手中看到的，奸诈的乌利亚·希普（Uriah Heep）；或者简·爱的令人震惊的追求者圣约翰·里弗斯。但这些人物都具有完全相同的负面品质。他们的特点是以自我为中心，视野狭隘，缺乏真正、无私的爱的能力。
Whichever of these categories they fall into, these dark figures are always presented in the same light. In their scornful attitude to the hero or heroine, they are both hard-hearted and blind: they can neither feel for them nor perceive their true qualities. They are also, like Cinderella’s stepsisters, wholly self-centred: vain, puffed-up, short-tempered, deceitful, concerned only with furthering their own interests. Later in the story, other ‘dark’ figures may emerge to stand between the hero or heroine and their ultimate goal: as we see in David Copperfield’s rival for the hand of Agnes, the treacherous Uriah Heep; or in Jane Eyre’s egregious suitor St John Rivers. But these characters are typified by precisely the same negative qualities; they are defined by their egocentricity, their blinkered vision, their in-capacity for true, selfless love.
因此，我们在白手起家的故事中看到的“黑暗”人物是我们在第一个情节“克服怪物”中已经熟悉的特征的组合。从心理上来说，他们与怪物有着相同的本质属性，而与此相反，我们看到男女主角本身形成了鲜明的对比。故事一开始，男女主人公基本上都是未成形的，在他们周围更占主导地位的人物投下的阴影中。但故事的核心是，当男女主人公逐渐从阴影走向光明时，他们就不再具有这些同样冷酷、以自我为中心的特征。我们总是将它们视为积极的一面，而不是负面的一面；从这个意义上说，随着故事的展开，它们的本质特征并没有改变。所发生的一切都是他们发展或揭示了他们一直以来的品质，至少是潜在的：直到故事结束时，发生了两件事。首先，所有的黑暗人物要么已经溃散，要么刚刚消失。其次，英雄或女英雄终于完全暴露在光天化日之下，让所有人终于认识到他们是多么的杰出。故事本质上就是这样发生的，而他们的物质环境也可能经历了这样的转变——比如他们把原来的贫穷和破烂变成了财富和漂亮的衣服——这只是一个外在的反映。他们内心发生的事情，给予了极大的强调。发生了两件事。首先，所有的黑暗人物要么已经溃散，要么刚刚消失。其次，英雄或女英雄终于完全暴露在光天化日之下，让所有人终于认识到他们是多么的杰出。故事本质上就是这样发生的，而他们的物质环境也可能经历了这样的转变——比如他们把原来的贫穷和破烂变成了财富和漂亮的衣服——这只是一个外在的反映。他们内心发生的事情，给予了极大的强调。发生了两件事。首先，所有的黑暗人物要么已经溃散，要么刚刚消失。其次，英雄或女英雄终于完全暴露在光天化日之下，让所有人终于认识到他们是多么的杰出。故事本质上就是这样发生的，而他们的物质环境也可能经历了这样的转变——比如他们把原来的贫穷和破烂变成了财富和漂亮的衣服——这只是一个外在的反映。他们内心发生的事情，给予了极大的强调。
What we see in the ‘dark’ figures of Rags to Riches stories is thus a combination of characteristics already familiar from our first plot, Overcoming the Monster. Psychologically, they share the same essential attributes as the monster, And against this we see the hero or the heroine themselves set in complete contrast. The hero or heroine begin the story largely unformed, in the shadows cast by the more dominant figures around them. But it is central to the story, as they gradually emerge from these shadows towards the light, that the hero or heroine are not marked by these same hard, self-centred characteristics. We always see them as a positive against the overshadowing negative; and in this sense, as the story unfolds, they do not change their essential character. All that happens is that they develop or reveal qualities which have been in them, at least potentially, all the time: to the point where, by the end of the story, two things have happened. Firstly, all the dark figures have either been discomfited or have just faded away. And secondly, the hero or heroine have at last emerged fully into the light, so that everyone can at last recognise how exceptional they are. It is this which has essentially been happening in the story, and the fact that their material circumstances may also have gone through such a transformation – e.g., that they have exchanged their original poverty and rags for riches and fine clothes – is only an outward reflection of what has inwardly happened to them, lending it dramatic emphasis.
即使是在最简单的民间故事版本的白手起家情节中，我们也可以看到这一点是多么小心地提出来。到了故事的结尾，没有人怀疑那些原本被嘲笑、卑微的小英雄或女英雄应该配得上他们最终光荣的命运，无论他们一开始的处境看起来多么不可能，他们最终会达到这样的地位。崇高的境界，因为他们一路上已经显露出了显示其真正内在价值的品质。当灰姑娘去参加舞会并第一次见到她的王子时，吸引眼球的不仅仅是她仙女教母为她穿上的华丽衣服：还有她与生俱来的美丽和明显的自然甜美，漂亮的衣服只会有助于“衬托出来”（最后一个生动的细节是，当王子终于看到她衣衫褴褛的时候，他立刻认出她就是他所爱的女孩；她不需要外在的装饰来在对的人眼中被视为美丽）。同样，当阿拉丁在神灯精灵的精心打扮下与公主举行婚礼时，这个曾经被人鄙视的小顽童以他的慷慨和高贵的举止赢得了所有人的心，也让他的准岳父大吃一惊。苏丹因其“雄辩和有教养的演讲”、“他的英勇和智慧”而闻名。1即使是《穿靴子的猫》中的主人公，尽管人们可能认为他的地位完全归功于他的猫的聪明才智，但他也很快就穿上了漂亮的衣服（这“凸显了他的气质”）。良好的风度”）比他的“优良品质”给他未来的岳父国王留下了深刻的印象。尽管这个“身材匀称、英俊的年轻人”原本只是一个贫穷磨坊主的儿子。2同样，迪克·惠廷顿同样将一切都归功于他的猫，他一变得富有并穿上华丽的衣服，就向全世界展示了他（正如叙述者小心地指出的那样）“一个彻底上流的年轻人” 。3
Even in the simplest folk-tale versions of the Rags to Riches plot, we can see how carefully this point is brought out. By the end of the story, no one ever doubts that the originally derided and humble little hero or heroine should be worthy of their final glorious destiny, however improbable it might have seemed from their circumstances at the beginning that they should eventually rise to such an elevated state, because they have already revealed along the way qualities which show their true inner worth. When Cinderella goes to the ball and meets her Prince for the first time, it is not just the magnificent clothes in which she has been dressed by her fairy godmother which catch every eye: it is her innate beauty and obvious sweetness of nature, which fine clothes have only helped to ‘bring out’ (it is a telling detail at the end that when the Prince finally sees her in her rags, he at once recognises her as the girl he loves; she does not need external trappings to be seen as beautiful in the eyes of the right person). Similarly, when Aladdin is decked out by the genie of the lamp in all sorts of splendour for his wedding to the Princess, the formerly scorned little urchin win all hearts by his generosity and noble bearing, and astonishes his prospective father-in-law the Sultan by his ‘eloquence and cultured speech’, ‘his gallantry and wit’.1 Even the hero of Puss in Boots, though it might be thought that he owed his elevation entirely to the ingenuity of his cat, has no sooner been dressed in fine clothes (which ‘set off his good mien’) than he impresses his future father-in-law the king by his ‘fine qualities’. even though the ‘well-made and very handsome young man’ was originally only the son of a poor miller.2 Likewise, Dick Whittington, who similarly owes everything to his cat, has no sooner become rich and put on his finery than he is revealed to all the world (as the narrator is careful to point out) as ‘a thoroughly genteel young fellow’.3
然而显然，这些令人眼花缭乱的年轻男女英雄与我们在故事的早期场景中看到的不快乐、困惑和拒绝的人并不完全相同。他们身上发生的事情是，他们终于揭示或开发了他们一直以来的潜力。他们已经成熟了。他们已经长大了。他们已经充分认识到自己将要成为的一切。从最好和最高的意义上来说，他们已经成为了他们自己。
Yet obviously these dazzling young heroes and heroines are not exactly the same people that we saw, unhappy, confused and rejected, in the earlier scenes of their stories. What has happened to them is that they have at last revealed or developed what was potentially in them all the time. They have matured. They have grown up. They have fully realised everything that was in them to become. In the best and highest sense, they have become themselves.
汉斯·克里斯蒂安·安徒生的《丑小鸭》是白手起家故事的一个例子，它特别清楚地说明了这一点——因为，如果剥离到这一本质，这个故事就几乎没有其他内容了。作为一只小鸭子，英雄很难从赤贫到富有。但他一开始肯定被每个人都看不起，几乎我们对这个故事的全部兴趣都集中在他因不知道自己是谁而遭受痛苦的最初漫长的痛苦和困惑时期与最后的结局之间的对比上。当他像一只美丽的天鹅一样绽放出真实的自我时，这是快乐的自我实现的时刻。
An example of a Rags to Riches story which makes this point particularly clearly – because, stripped down to this essence, the story consists of very little else – is Hans Christian Andersen’s The Ugly Duckling. Being a duckling, the hero can hardly make the journey from literal rags to literal riches. But he is certainly looked down on by everyone at the beginning, and almost our entire interest in the tale centres round the contrast between that long initial period of misery and confusion when he suffers because he does not know who he really is, and that final moment of joyful self-realisation when he flowers into his true self as a beautiful swan.
然而，在大多数白手起家的故事中，中心人物最终状态的喜悦和完美也通过另外两种成分来表达，这两种成分同样与字面意义上的财富无关，但对于世界故事讲述来说是如此重要，以至于它们几乎与我们的“幸福结局”概念同义。
In the majority of Rags to Riches tales, however, the joy and perfection of the central figure’s final state are also expressed by those two other ingredients which equally have nothing to do with literal riches, but which are so fundamental to the world’s storytelling that they are almost synonymous with our notion of a ‘happy ending’.
第一个是，在路上的某个地方，英雄应该遇到了他梦中的女孩，一个美丽的少女或“公主”。女主角遇到了她英俊的“王子”。没有什么比故事的结尾更深刻地传达了我们的决心：他们最终应该团结起来，一个男人和一个女人在完美的爱情中走到一起。
The first is that, somewhere along the way, the hero should have met the girl of his dreams, a beautiful maiden or ‘Princess’. The heroine has met her handsome ‘Prince’. Nothing more profoundly conveys our sense of resolution at the end of a story that they should at last be united, a man and a woman brought together in perfect love.
第二个是英雄，或者新联合的一对，应该继承某种他们可以统治的王国、遗产或领域。我们可以把它们留在那里，带着一种感觉，在黑暗势力和不确定性似乎统治了很长一段时间之后，一切终于被带到或恢复到它应该在的地方。此时我们可能会被告知“他们从此过上了幸福的生活”，我们不一定需要了解更多关于他们的信息：因为我们已经达到了讲故事的神秘中心目标，一切似乎最终都变得完美和完整。
The second is that the hero, or the newly united pair, should then succeed to some kind of a kingdom, inheritance or domain, over which they can rule. There we can leave them, with the sense that, after a long period when it seems that dark forces and uncertainty ruled the day, everything has at last been brought or restored to where it should be. We may at this point be told that ‘they lived happily ever after’, and we do not necessarily need to know anything more about them: because we have reached that mysterious central goal in storytelling, where everything seems at last to be perfect and complete.
中央危机
The central crisis
乍一看，白手起家故事中的男女主人公最终实现这一目标的过程似乎相当简单。但我们越系统地审视这些故事，我们就越会惊讶地发现，男女主人公从阴影中走出来的方式很少表现为简单、不间断的攀登。事实上，故事中通常有一个特定的时刻，在男女主人公的命运有了最初的改善之后（有时改善得如此之大，以至于它本身似乎是幸福结局的暗示），他们突然遇到了新的危机点，当所有幸福结局的希望似乎都永远消失了。
At first sight it might seem that the process whereby the hero or heroine of a Rags to Riches story eventually reaches this goal is fairly simple. But the more systematically we examine such stories, the more we may be struck by the way the hero or heroine’s emergence from the shadows is rarely presented as a simple, unbroken climb. In fact there is usually a particular moment in the story when, after an initial improvement in the hero or heroine’s fortunes (sometimes so great that it might in itself seem the cue for a happy ending), they suddenly hit a new point of crisis, when all hopes of a happy ending seem to have been snatched away forever.
举一个熟悉的例子，让我们回顾一下 1605 年首次录制的《白手起家》主题曲的经典英语版本，标题为“理查德·惠廷顿的历史，他的低拜尔特，他的伟大财富”。在这个故事中，没有比这更著名的情节了，大约故事进行到一半时，英雄出发离开伦敦，只是被远处教堂的钟声召回，宣告“伦敦市长惠廷顿，请再转一次”。
For a familiar example, let us go back to that classic English version of the Rags to Riches theme first recorded in 1605 under the title The History of Richard Whittington, Of His Low Byrthe, His Great Fortune. There is no more celebrated episode in this story that that when, about halfway through, the hero sets out to leave London, and is only called back by the sound of distant church bells proclaiming ‘Turn again Whittington, Lord Mayor of London’.
在故事的这一点上，迪克正处于人生的最低潮。他从乡村来到大城市，希望能看到“铺满黄金”的街道。最初他的幻想破灭了，差点饿死。但随后他的命运开始好转。一位富有的商人，市议员菲茨沃伦（Alderman Fitzwarren）同情迪克，并在他的厨房里为迪克提供了工作。他甚至终于找到了一个真正的朋友和形影不离的伴侣，那就是他的猫。只有当他被迫将他的猫（作为他在世界上唯一的财产）送到他主人的海外贸易企业之一，从而发现自己再次比以往任何时候都更加孤独和没有朋友时，迪克才最终被彻底的打击所压倒。绝望。
At this point in the story, Dick is at his lowest ebb. He had arrived in the great city from the countryside, hoping to find the streets ‘paved with gold’. He had initially met with terrible disillusionment and nearly died of hunger. But then his fortunes had begun to look up. A rich merchant, Alderman Fitzwarren, had taken pity on him and given Dick employment in his kitchens. He had even found at last a real friend and inseparable companion, his cat. It is only when he is forced to send his cat (as his only possession in the world) on one of his master’s overseas trading ventures, and thus finds himself again, more than ever, alone and friendless, that Dick is finally overwhelmed by complete despair.
他决定永远放弃伦敦和他所有的梦想。正如我们所说，这是迪克一生中最严重的危机。但正是在此时此刻，在遥远的非洲黑暗大陆上，他的命运实际上正在发生转变。他的猫为一个王国消灭了可怕的老鼠瘟疫，该国的国王给予了巨额奖励。尽管迪克对此一无所知，但弓铃却给了他一种奇怪的预感，即生活可能仍然为他带来几乎难以想象的荣耀。他回到伦敦，发现自己变得非常富有。他娶了富有雇主的漂亮女儿爱丽丝（在他以前的卑微状态时，这个人对他表现出最明显的同情），并如钟声所预言的那样，成为伦敦市长，他相当于继承了一个“王国”。
He decides to abandon London and all his dreams forever. It is, as we might put it, the worst crisis of Dick’s life. But it is at precisely this moment, far away in the dark continent of Africa, that his fortunes are in fact being transformed. His cat has rid a kingdom of a terrible plague of rats and mice, and the king of that country has given an immense reward. Although Dick knows none of this, he is given by Bow bells a strange premonition of the almost unthinkable glories which life might still have in store for him. He returns to London to discover that he has become enormously rich. He marries his rich employer’s beautiful daughter Alice (the person who had most obviously shown sympathy for him in his former lowly state) and becomes, as foretold by the bells, Lord Mayor of London, his equivalent of succeeding to a ‘kingdom’.
迪克与他的猫分离时所面临的危机和绝望的核心时刻，事实上对于白手起家的故事模式来说是如此自然，以至于几乎没有什么例子不以某种形式出现。即使在《丑小鸭》中，英雄的精神也没有比他第一次看到“王者”天鹅之后情绪低落的时刻：预示着生活可能拥有难以想象的荣耀。但后来天鹅消失了，留下小鸭独自面对漫长而可怕的冬天的艰辛。他从来没有像现在这样寒冷、缺乏食物或如此痛苦过。只有当他经历过这一切之后最后，也是最伟大的磨难，在去年春天到来时，他奇迹般地变成了一只“国王”天鹅，“最美丽的天鹅”。
Such a central moment of crisis and despair as Dick faced when he was separated from his cat is in fact so natural to the pattern of the Rags to Riches story that there are few examples where in some form or another it does not appear. Even in The Ugly Duckling there is no moment when the hero’s spirits are at a lower ebb than after his first glimpse of the ‘kingly’ swans: a prevision of the unthinkable glories life might hold. But then the swans disappear, leaving the duckling alone to face the hardships of a long, terrible winter. He has never been so cold, short of food or miserable. It is only when he has been through this last, greatest ordeal that at last spring arrives, bringing with it the miraculous moment of his transformation into a ‘kingly’ swan himself, ‘the most beautiful of all’.
同样的还有《灰姑娘》对于女主人公来说，没有比她第三次参加舞会更绝望的时刻了。她曾三度抛下破布和灰烬与王子共舞，赢得了普遍的钦佩，并看到了她可能拥有的难以想象的幸福生活。现在，当她作为女仆回到悲惨的囚禁生活，再也见不到王子的希望时，一切似乎都比以往更加黑暗。当然，在她第三次从皇宫逃走时，她留下了她那双精致的拖鞋。然而她不知道的是，王子已经找到了它，并派人走遍整个王国，看看这只拖鞋适合谁的脚。与《亚瑟与石中剑》一样，试穿拖鞋也是世界上许多神话、传说和民间故事中常见的主题的一个版本，“只有真正的英雄或女英雄才能通过的考验”。灰姑娘胜利地度过了她的磨难（最终让她的两个“黑暗对手”丑姐妹感到不安）。王子立刻认出了她衣衫褴褛的她，他们继续走向传统的幸福结局。
Similarly in Cinderella, there is no moment when everything seems more hopeless for the heroine than after her third visit to the ball. Three times she has left her rags and ashes to dance with the Prince, winning universal admiration and catching a glimpse of the unthinkable happiness life might hold for her. Now, as she returns to her miserable, imprisoned life as a maid-of-all-work, with no prospect of ever seeing the Prince again, all seems blacker than ever. But of course, in her headlong flight from the palace on the third visit, she has left behind her dainty slipper; and, quite unknown to her, the Prince has found it, and sent out far and wide across the kingdom to see whose foot the slipper will fit. As with Arthur and the sword in the stone, the trying on of the slipper is a version of that motif familiar from many of the world’s myths, legends and folk tales, ‘the test which only the true hero, or heroine, can pass’. Cinderalla comes through her ordeal triumphantly (finally discomfiting on the way her two ‘dark rivals’, the Ugly Sisters). The Prince at once recognises her in her rags, and they proceed to the traditional happy ending.
在每个例子中，我们都看到故事的基本结构相同，因为它分为两个不同的阶段，中间被“中心危机”分开。首先，男女主人公的命运初步上升，因为他们摆脱了最初无助的苦难状态，并可能瞥见有一天他们可能会达到的辉煌状态。然后可怕的危机来临了，一切似乎再次失去了。然后是故事的后半部分，故事显示他们在不知不觉中为命运的最终逆转、最终的出现和最终到达的光荣完整状态做好了准备。
In each of these examples we see the same essential structure to the story, as it falls into two distinct stages, separated in the middle by ‘the central crisis’. First there is the initial rise in the hero or heroine’s fortunes, as they are taken out of their original state of helpless misery, and may have a glimpse of the glorious state they might one day attain. Then comes the terrible crisis, when all seems lost again. Then comes the second half of the story, which shows them being prepared unwittingly for their final reversal of fortune, their final emergence into the light and the glorious state of completeness at which they arrive at the end.
我们已经可以在迄今为止我们所记录的白手起家故事的最早例子中看到这种模式的发挥作用，即《圣经》创世记中约瑟夫的故事。当年轻的约瑟嫉妒的兄弟们首先计划把他留在沙漠中等死，然后把他卖到埃及为奴时，他最终成为国王护卫长波提乏家族的监督。这是一个重要的位置，考虑到约瑟夫早期的困境，当他在沙漠中面临死亡时，这似乎是故事的一个奇迹般的幸福结局。但就在这时，波提乏的妖妇妻子诬告约瑟试图引诱她。他被投入监狱，他的生活似乎无可挽回地变成了废墟。只是在经历了很长一段时间的彻底绝望之后，约瑟解梦的天赋（正是他差点被他的兄弟们谋杀的原因）才出乎意料地引起了法罗亚本人的注意。通过这一点，他最终被提升到无限更高的高度，成为首席大臣，王国第二有权势的人。但即便如此，当约瑟夫享受着巨大的财富和辉煌的地位时，在故事得出一个完全圆满的结论之前，还有一个至关重要的未完成的事情：约瑟夫与他的兄弟们的不和。当饥荒席卷以色列土地时，他们来到埃及，恳求这位强大的人物给予足够的玉米来生存。起初约瑟夫拒绝了他们，直到他被他最小的孩子的景象所感动 约瑟夫与他的兄弟们产生了裂痕。当饥荒席卷以色列土地时，他们来到埃及，恳求这位强大的人物给予足够的玉米来生存。起初约瑟夫拒绝了他们，直到他被他最小的孩子的景象所感动 约瑟夫与他的兄弟们产生了裂痕。当饥荒席卷以色列土地时，他们来到埃及，恳求这位强大的人物给予足够的玉米来生存。起初约瑟夫拒绝了他们，直到他被他最小的孩子的景象所感动弟弟“小便雅悯”并没有参与他早先的迫害，一想到他年老的父亲雅各在以色列挨饿，他就心软了。他给他们所需的食物。只有当他通过了最后的考验，并在爱和宽恕的状态下与家人团聚时，故事才能以彻底解决的形象结束。
We can already see this pattern at work in by far the earliest example of a Rags to Riches story of which we have record, the story of Joseph from the biblical book of Genesis. When young Joseph’s jealous brothers, after first planning to leave him to die in the desert, then sell him into slavery in Egypt, he eventually rises to rule as an overseer over the household of Potiphar, the captain of the king’s guard. This is an important position, and considering Joseph’s earlier plight, when he faced death in the desert, it might seem like a miraculous happy ending to the story. But just then Joseph is falsely accused by Potiphar’s temptress wife of attempting to seduce her. He is thrown into prison and his life seems irrevocably in ruins. Only after a long time of utter despair is Joseph’s talent for interpreting dreams (the very thing for which he had nearly been murdered by his brothers) quite unexpectedly brought to the attention of Phaoroah himself. Through this he is eventually raised up to infinitely greater heights as chief minister, the second most powerful man in the kingdom. But even then, as Joseph enjoys his position of immense wealth and splendour, there is a crucial piece of unfinished business remaining before the story can come to a completely happy conclusion: Joseph’s rift with his brothers. As famine stalks the land of Israel, they come to Egypt, pleading with this mighty, powerful figure to be given enough corn to survive. At first Joseph rejects them, until he is so moved by the sight of his youngest brother, ‘little Benjamin’, who had not been party to his earlier persecution, and by the thought of his aged father Jacob starving back in Israel, that he relents. He gives them the food they need. Only when he has passed this final test, and been reunited with his family in a state of love and forgiveness, can the story end on an image of complete resolution.
同样，我们也不仅仅在更古老、更传统的白手起家故事形式中看到这种故事被“中心危机”打断的分成“两半”的模式。我们很可能会在与传统民间故事或圣经传说世界相去甚远的版本中找到它。
Equally it is by no means just in the older and more traditional forms of the Rags to Riches tale that we see this pattern of the story’s division into two ‘halves’ interrupted by a ‘central crisis’. We are just as likely to find it in versions as far removed from the world of the traditional folk tale or biblical legend as could be imagined.
好莱坞喜爱白手起家主题的早期例子是查理·卓别林的默片经典《淘金记》（1921）。故事的前半部分展示了卓别林，在他熟悉的“流浪汉”角色中，扮演一个不成功的阿拉斯加小淘金者，他的幸福梦想集中在乔治亚州，他在附近的城镇遇到了一位舞厅女主人，并与她结下了不解之缘。陷入爱河。他邀请她去他的小屋参加除夕晚宴，一切似乎都为他多年的孤独画上了圆满的句号。但她只是开玩笑地接受了邀请，并没有出现。中央危机已经到来。他没有发现任何金子；他失去了这个世界上他最亲爱的女孩；他的生活一片废墟。但故事的后半部分开始了，他帮助他的朋友大吉姆发现了一座失落的金矿，并获得了一份股份，这让他变得非常富有。我们看到他以百万富翁的身份登上一艘返回旧金山的船，穿着流浪汉的衣服在甲板上摆姿势供摄影师拍照。他滑倒并摔倒在下层甲板上，除了同一艘船的统舱乔治亚之外，谁应该第一个看到他。从他的衣服上，她猜想他一定是一个偷渡者，并主动提出支付他的车费。但是，为了表达自己的好运，他邀请她和他一起坐头等舱，影片以夫妻俩幸福的拥抱结束。
An early instance of the fondness of Hollywood for the Rags to Riches theme was Charlie Chaplin’s silent classic The Gold Rush (1921). The first half of the story shows Chaplin, in his familiar ‘tramp’ role, as an unsuccessful little Alaskan gold prospector, whose dreams of happiness centre on Georgia, a dance hall hostess he has met in a nearby town, and with whom he has fallen in love. He invites her to a New Year’s Eve dinner in his shack, and all might seem set fair for a happy ending to his years of loneliness. But she had only accepted the invitation as a joke and fails to turn up. The central crisis has arrived. He has not discovered any gold; he has lost the girl who had become the dearest thing to him in the world; his life is in ruins. But then comes the second half of the story, when he helps his friend Big Jim to discover a lost gold mine and is rewarded with a share which makes him fabulously rich. We see him embarking on a ship back to San Francisco as a multi-millionaire, posing on the deck for photographers in his tramp’s clothes. He slips and falls down onto a lower deck, where who should be first to see him but Georgia, travelling steerage on the same boat. From his clothes she imagines he must be a stowaway and offers to pay his fare. But, revealing his good fortune, he invites her to join him in first-class and the film ends with the couple in joyful embrace.
另一种特别受好莱坞喜爱的白手起家主题是关于贫穷、苦苦挣扎的艺术家、发明家或科学家的故事，他们长期被一个不理解的世界所蔑视，但最终被认为是天才，并以一场辉煌的胜利告终。普遍的赞誉（通常是与他所爱的妻子或女孩深情拥抱，在他遭受拒绝和明显失败的岁月里，只有她一个人站在他身边）。
Another form of the Rags to Riches theme particularly beloved by Hollywood has been the story of the poor, struggling artist, inventor or scientist who for long is scorned by an uncomprehending world – but who is eventually recognised as a genius and ends in a blaze of universal acclaim (usually in fond embrace with the wife or girl he loves, who alone has stood by him during the years of rejection and apparent failure).
这种类型的典型是1956 年制作的《本尼·古德曼的故事》，讲述了 20 世纪 30 年代乐队指挥的生活。尽管正如他们所说，这部电影是根据“真实故事”改编的，但看到编剧如何选择安排他们的素材以使其成为一个令人满意的银幕故事，还是很有趣的。
Typical of this genre was The Benny Goodman Story, made in 1956 about the life of the 1930s bandleader. And although the film was based, as they say, on ‘a true story’, it is fascinating to see how the scriptwriters chose to arrange their material to make it into a satisfactory story for the screen.
二十世纪初出生在芝加哥贫民窟的一个贫穷的犹太男孩，开始学习单簧管，很早就被他睿智的白发老老师发现了非凡的天赋。他成长于 20 年代的“爵士时代”，被非传统的新音乐所吸引，最终在经历了各种挣扎和拒绝后，成为了自己乐队的领导者。他享受最初的成功，就像灰姑娘享受她在舞会上最初的成功时刻一样。但危机随之而来。乐队的新品牌“摇摆音乐”已经发展到公众品味似乎已经准备好追随的地步。当音乐家们在成败中旅行时在美国巡演时，观众减少，预订量下降，资金耗尽，乐团似乎将不得不解散。失败摆在古德曼的面前。当他们到达加利福尼亚州时，他们只剩下最后一次约会了，地点是在洛杉矶的帕洛玛宴会厅。一大群舞者出现了，但当乐队开始演奏直舞音乐时，他们似乎很无聊。这似乎是拒绝的最后时刻，直到古德曼做出最后的反抗姿态，决定继续战斗，切换到他的音乐家可以演奏的最热门的音乐。舞者们停下跳舞，聚集在演奏台周围，只是为了聆听。顿时爆发出欢呼声。显然，“摇摆”正是美国一直在等待的。屏幕上的头条新闻记录着乐队的成功，直到电影结束时，古德曼赢得了他的“公主”的手，她是他富有的年轻经理人美丽的上流社会妹妹，而乐队面临着最后的考验，在卡内基音乐厅举行的音乐会，这是有史以来第一次允许纯粹的爵士乐团进入美国古典音乐的神圣城堡。特写镜头展示了女主人公年迈、传统、富有的父母的双脚开始偷偷地踏着音乐的节奏。全场起立为古德曼鼓掌。这位出生于贫民窟的英雄胜利地进入了“王国”。特写镜头展示了女主人公年迈、传统、富有的父母的双脚开始偷偷地踏着音乐的节奏。全场起立为古德曼鼓掌。这位出生于贫民窟的英雄胜利地进入了“王国”。特写镜头展示了女主人公年迈、传统、富有的父母的双脚开始偷偷地踏着音乐的节奏。全场起立为古德曼鼓掌。这位出生于贫民窟的英雄胜利地进入了“王国”。4
A poor Jewish boy, born into the Chicago slums in the early years of the twentieth century, takes up the clarinet and is early spotted by his wise old white-haired teacher to have remarkable talent. Growing up in the ‘Jazz Age’ of the 1920s, he is drawn to the unconventional new music and eventually, after various struggles and rebuffs, becomes leader of his own band. He enjoys initial success, rather as Cinderella enjoys her initial moments of success at the ball. But then comes the crisis. The band’s new brand of ‘swing music’ has developed beyond the point where public taste seems ready to follow. As the musicians travel on a make-or-break tour across America, audiences dwindle, bookings fall off, money runs out and it seems the orchestra will have to disband. Failure stares Goodman in the face. When they reach California, they have just one last engagement left, at the Palomar ballroom in Los Angeles. A huge crowd of dancers has turned up, but when the band begins to play straight dance music, they seem bored. It seems like the final moment of rejection, until in a final gesture of defiance, Goodman decides to go down fighting, by switching to the hottest music his musicians can play. The dancers break off from dancing and cluster round the bandstand, simply to listen. Suddenly cheering breaks out. It is clear that ‘swing’ is just what America has been waiting for. Headlines pour across the screen recording the band’s success, until the film ends with Goodman winning the hand of his ‘Princess’, his rich young impresario’s beautiful upper-class sister, while the band faces its final test, a concert in Carnegie Hall, the first time a mere jazz orchestra has ever been permitted into the hallowed citadel of America’s classical music. A close-up shows the feet of the heroine’s elderly, conventional, rich parents surreptitiously beginning to tap to the rhythm of the music. The entire audience rises to give Goodman an ovation. The slum-born hero has triumphantly won his way into the ‘kingdom’.4
我们现在可以看到，当一个基于白手起家情节的故事在故事讲述者的脑海中展开时，它是如何呈现出某种特定的、相当具体的形状的。这样的故事越长、发展得越充分，这一点可能就越明显，并且可以通过最后两个例子来详细说明这一点。从表面上看，这些故事几乎没有什么不同：一个是古老的中东民间故事阿拉丁；另一个是古老的中东民间故事阿拉丁。另一本著名的十九世纪英国小说《简·爱》。但当我们追寻这些故事中的中心人物所发生的事情的本质时，我们开始清楚地看到白手起家的情节结构的真正含义。
We are now in a position to see how, as it unfolds in the mind of the storyteller, a story based on the Rags to Riches plot tends to take on a certain, quite specific shape. The longer and more fully developed such a story becomes, the more apparent this is likely to be, and this may be illustrated in some detail by way of two last examples. On the face of it, these stories could scarcely seem more dissimilar: one is the ancient Middle Eastern folk tale of Aladdin; the other a well-known nineteenth-century English novel, Jane Eyre. But as we follow the essence of what is happening to the central figure in each of these stories, we begin to see clearly what this structure of the Rags to Riches plot is really about.
阿拉丁和他的神灯的故事据说来自八世纪著名的中东故事集《一千零一夜》（尽管最近有人认为这个故事可能写得更晚）。5
The story of Aladdin and His Enchanted Lamp supposedly comes from that famous collection of Middle Eastern tales The Thousand and One Nights dating back to the eighth century (although it has recently been suggested that this story might have been written much later).5
故事开始于阿拉丁是一个不守规矩、一无是处的小孤儿，与母亲独自生活在一座大城市。他的父亲已经死了，没有什么可以控制他。但有一天，一位神秘的“巫师”出现，自称是死去父亲失散多年的兄弟。阿拉丁的新“叔叔”表演精彩对这个男孩充满了父亲般的关心，并带领年轻的英雄出城，来到一座大山阴影下的偏僻地方。这里，地面上出现了一个神秘的洞。魔法师给了阿拉丁一枚魔法戒指，以在遇到麻烦时保护他，男孩被送进地下洞穴，在那里他发现了三个房间，里面藏着神话般的宝藏、珠宝和做工精细的金银，在黑暗中闪闪发光。但阿拉丁已接到指示，绝对不能碰这些东西。他必须冒险走到洞穴的后面，在一个壁龛里，他会看到一盏看起来不起眼的旧灯。他必须把这一点带回到表面。当他这样做时，魔法师就变成了一个邪恶的骗子。他请求阿拉丁将神灯交给他，但当男孩拒绝时，一块岩石堵住了入口，英雄发现自己被困住了。在黑暗中被囚禁三天后，他正要放弃一切希望时，千钧一发之际，他不经意地摩擦了戒指。一个精灵出现了，他有能力释放他。阿拉丁回到家，最终发现了神灯精灵的强大力量。多亏了精灵的帮助，他和他的母亲现在能够舒适地生活了好几年，而现在十几岁的阿拉丁也从故事开始时那个不负责任的孩子发生了很大的变化，花时间认真地交谈与远方的旅人一起，了解世界。在那里，他最终发现了神灯精灵更强大的力量。多亏了精灵的帮助，他和他的母亲现在能够舒适地生活了好几年，而现在十几岁的阿拉丁也从故事开始时那个不负责任的孩子发生了很大的变化，花时间认真地交谈与远方的旅人一起，了解世界。在那里，他最终发现了神灯精灵更强大的力量。多亏了精灵的帮助，他和他的母亲现在能够舒适地生活了好几年，而现在十几岁的阿拉丁也从故事开始时那个不负责任的孩子发生了很大的变化，花时间认真地交谈与远方的旅人一起，了解世界。
The story begins with Aladdin as an unruly little good-for-nothing orphan, living alone with his mother in a great city. His father is dead and nothing can be done to control him. But one day a mysterious ‘Sorcerer’ appears, claiming to be the dead father’s long-lost brother. Aladdin’s new ‘uncle’ makes a great show of taking a fatherly interest in the boy, and leads the young hero out of the city to a remote spot in the shadow of a great mountain. Here a mysterious hole appears in the ground. The Sorcerer gives Aladdin a magic ring to protect him in case of trouble, and the boy is sent down into the underground cave where he finds three rooms containing a fabulous treasure, jewels and finely worked gold and silver, shining in the darkness. But Aladdin has been instructed on no account to touch any of this. He must venture right to the back of the caves, where in a niche he will see an unprepossessing-looking old lamp. This he must bring back to the surface. When he does so, the Sorcerer turns out to be a wicked trickster. He asks Aladdin to hand the lamp up to him, but when the boy refuses, a rock closes over the entrance and the hero finds himself trapped. After three days of imprisonment in the darkness, he is just about to give up all hope when, in the nick of time, he inadvertently rubs the ring. A genie appears, who has the power to free him. Aladdin returns home, where he eventually discovers the much greater powers of the genie of the lamp. Thanks to the genie’s help, he and his mother are now able to live in comfort for some years, while Aladdin, now in his teens, is quite transformed from the feckless child he was at the start of the story, spending time in earnest conversation with travellers from afar, learning about the world.
这就是故事的第一部分，故事的第一部分讲述了主人公在新发现的神秘力量的帮助下，从一个不成熟、不守规矩的孩子变成了一个即将成年的严肃的年轻人。
Such is the first part of the story, which shows the hero, with the aid of newly-discovered and mysterious powers, being turned from an unformed and unruly child into a serious young man on the verge of adult life.
故事的第二阶段讲述了阿拉丁远远地爱上了这座城市最美丽的女人——这座城市统治者的女儿巴德尔·布德尔公主。他几乎不敢想象自己能有幸赢得她的芳心，事实上，在很长一段时间里，她似乎肯定会嫁给别人——国王首席大臣的傲慢儿子。但最终，在神灯精灵的帮助下，阿拉丁克服重重困难，成功智胜了他的黑暗对手，并赢得了公主的芳心。他被精灵变成了一个出色而富有的年轻人，他的品质，包括他的善良慷慨，赢得了普遍的钦佩。婚礼举行；精灵为阿拉丁建造了一座比国王的宫殿还要宏伟的宫殿。作为负责国王军队的将军，他战胜了国家的敌人。他已成为民族英雄。
The second stage of the story shows Aladdin falling in love, from a distance, with the most beautiful woman in the city, the Princess Badr-al-Budr, the daughter of the city’s ruler. He hardly dares think he could ever be fortunate enough to win her, and indeed for a long time it seems certain that she will marry someone else – the arrogant son of the king’s chief vizier. But eventually, with the aid of the genie of the lamp, Aladdin succeeds against all the odds in outwitting his dark rival, and wins the Princess’s hand. He is transformed by the genie into a splendid and wealthy young man, whose qualities, including his good-hearted generosity, win universal admiration. The wedding takes place; the genie constructs for Aladdin a palace even more magnificent than the king’s own; and, as general in charge of the king’s army, he wins a great victory over the country’s enemies. He has become a national hero.
从表面上看，故事到这里，这个年轻人似乎已经将整个世界踩在了脚下。他登上了世界舞台，赢得了他最渴望的女人的芳心，他是王国里最受尊敬的男人。他的故事似乎一切都会有一个幸福的结局，尽管结局有些简单。但故事讲述者小心翼翼地强调阿拉丁的成功有多少是外在的。他的一切都归功于精灵。当阿拉丁向他的岳父夸耀他宫殿的宏伟时，第一次出现了即将发生麻烦的不祥暗示。他被太容易获得的成功冲昏了头脑，我们意识到，在他的故事得到正确、彻底的解决之前，还有很多事情要做。
Outwardly, by this point in the story, the young man seems to have the world at his feet. He has gone out onto the stage of the world, he has won the hand in marriage of the woman he has come to desire more than anything else, he is the most admired man in the kingdom. All might seem set for a happy, if somewhat straightforward ending to his story. But the storyteller is careful to emphasise just how much Aladdin’s success is outward. He owes everything to the genies. And for the first time there is an ominous hint of impending trouble when Aladdin boasts to his father-in-law about the magnificence of his palace. He is getting carried away by the success that has come to him too easily, and we realise that a great deal more has to happen before his story can be properly and completely resolved.
事实上，现在“中央危机”已经到来。当阿拉丁远离城市狩猎时，他的注意力全部转向了外面的世界，神秘的魔法师乔装打扮潜回城市，提供“旧灯换新灯”。公主上当了，并把那盏旧灯送给了她，这盏灯是她丈夫所有成功的源泉。转眼之间，魔法师就带着公主和宫殿来到了最黑暗的非洲。阿拉丁回到城市，发现他的世界变成了废墟。他不仅失去了他最珍视的一切，而且国王勃然大怒，威胁说，除非阿拉丁能在四十天内将一切恢复原状，否则他将被处死。
Indeed it is now that the ‘central crisis’ arrives. While Aladdin is away from the city hunting, his attention all turned on the outside world, the shadowy Sorcerer creeps back into the city in disguise, offering ‘new lamps for old’. The Princess falls for the trick and gives away the old lamp which has been the source of all her husband’s success. In the twinkling of an eye, the Sorcerer has spirited Princess and palace away to darkest Africa. Aladdin returns to the city to find his world in ruins. Not only has he lost everything that was most dear to him, but the king is in a towering rage, threatening that unless Aladdin can return everything to where it was within forty days he will be put to death.
面对这场前所未有的危机，阿拉丁不知从何开始，在绝望中徘徊在沙漠中。他听天由命，无意中摩擦了手指上的戒指，小精灵出现了。阿拉丁向他求助，精灵说他可以将阿拉丁运送到非洲公主和宫殿被掳走的地方。但除此之外他也无能为力，因为灯神的力量太强大了。从此以后，一切就由阿拉丁一人决定了。
Faced with this unprecedented crisis, not knowing where to begin, Aladdin wanders out into the desert in suicidal despair. Resigning himself to death, he inadvertently rubs the ring, still on his finger, and the lesser genie appears. Aladdin appeals to him for help, and the genie says he can transport Aladdin to the place in Africa where the Princess and the palace have been taken. But beyond that he cannot help, because the powers of the genie of the lamp are too strong. From then on, it will be up to Aladdin alone.
这个非常重要的时刻标志着故事后半部分的开始。就在一切似乎都已失去的时候，阿拉丁获救了：但前提是，从现在开始，他必须以某种全新的方式学会依靠自己并发挥自己的力量。
This highly significant moment marks the beginning of the second half of the story. Just when all seems lost, Aladdin is rescued: but only on the crucial condition that, from now on, he must, in some entirely new way, learn to rely on himself and bring his own powers into play.
这个新阶段从阿拉丁被带到非洲开始，在那里他发现公主被巫师的黑暗力量日夜守护在宫殿里。他把自己伪装成一个乞丐（回到了他开始时的卑微状态），进入宫殿并设法找到了公主，他向公主提供了一种药物，她将把这种药物交给巫师。当魔法师陷入昏迷状态时，阿拉丁闯入并杀死了他。怪物被战胜了。在灯的帮助下，英雄高兴地将公主、他自己和宫殿带回了他们所属的中国。
This new phase begins with Aladdin being carried to Africa, where he finds the Princess guarded day and night in the Palace by the dark powers of the Sorcerer. Disguising himself as a beggar (returning to the humble state in which he had begun), he enters the Palace and manages to reach the Princess, whom he supplies with a drug which she is to administer to the Sorcerer. When the Sorcerer has fallen into a state of unconsciousness, Aladdin breaks in and kills him. The monster is overcome. With the aid of the lamp, the hero then joyfully returns the Princess, himself and the palace back to China where they all belong.
这似乎又具备了幸福结局的所有要素（事实上，许多现代改编作品，例如哑剧版本，正是在这里结束了故事）。但在完整的原始版本中，阿拉丁现在必须面对最后的考验，比他以前经历过的任何考验都近乎致命，这为故事提供了真正的高潮。
Again this might seem to have all the makings of a happy ending (indeed it is here that many modern adaptations, such as pantomime versions, terminate the story). But in the full, original version, Aladdin now has to face a last testing ordeal, more nearly deadly than anything he has been through before, which provides the real climax to the story.
魔法师的兄弟来到了这座城市，一心要报仇。以巫师为代表的黑暗势力还没有被最终推翻。最初我们看到他扮演铁血战士，渴望获得神灯。然后我们看到他作为坚守者，捍卫他在非洲的不义之财。我们现在看到的他，变成了他的“兄弟”，但其他方面则完全相同，都是复仇者。
There arrives in the city the Sorcerer’s brother, bent on revenge. The dark power represented by the Sorcerer has still not been finally overthrown. Originally we saw him, eager to obtain the lamp, in the role of Predator. We then saw him, defending his ill-gotten gains in Africa, as Holdfast. We now see him, transmuted as his ‘brother’ but otherwise identical, as Avenger.
新魔法师秘密杀死了城里著名的“圣女”，并乔装打扮，骗取了公主的信任。每个人都被吸引了，甚至阿拉丁，在虚假圣女的建议下，他向神灯精灵索要使宫殿变得完美所必需的东西：大鹏鸟的蛋，一只神话般的鸟。精灵勃然大怒，说这是世界上唯一一件他无力提供的东西，因为大鹏是他的母亲。除了向阿拉丁透露圣女是伪装的巫师之外，他没有办法帮助阿拉丁。阿拉丁意识到他们都处于可怕的危险之中，而他现在完全靠自己了。只能靠自己的智慧和勇气他克服了从故事一开始就一直针对他的黑暗力量。在最后的高潮对抗中，他设法智胜并杀死了巫师。只有当黑暗势力被永远推翻时，这位充满敬畏和感激的公主才最终认识到他的真正价值（“我承认我从来没有公正地对待我们的爱”）。他们最终真正完全团结在一起，国王最终去世，阿拉丁继承了王国。
The new Sorcerer secretly kills a famous ‘Holy Woman’ of the city and, putting on her disguise, inveigles himself into the Princess’ confidence. Everyone is taken in, even Aladdin, who, at the false Holy Woman’s suggestion, asks the genie of the lamp for the one thing necessary to make the palace perfect: the egg of the roc, a fabulous bird. The genie flies into a rage, saying that this is the one thing in the world it is not in his power to provide, because the roc is his mother. There is no way he can help Aladdin, apart from revealing to him that the Holy Woman is the Sorcerer in disguise. Aladdin realises the terrible danger they are all in, and that he is now completely on his own. Only by his own wits and courage can he overcome the dark power which has been arraigned against him since the beginning of the story. In a final climactic confrontation, he manages to outwit and kill the Sorcerer. Only when the dark power has thus been overthrown forever, does the awed and grateful Princess finally recognise his true worth (‘I confess I have never done justice to our love’). They are at last truly and fully united, the king eventually dies, and Aladdin succeeds to the kingdom.
我们现在可以看到整个故事的真正含义：一个人从未成形的童年到完全成熟的最终状态的旅程。在前半部分中，我们看到阿拉丁从少年成长到成年，发现自己拥有巨大的力量，这为他带来了耀眼的婚姻和在世界舞台上光荣的外表成功。但无论如何，他还没有完全发展和成熟；他还没有完全成熟。这在他将一切归功于精灵的方式上得到了象征。他忘记了这一点，并开始表现得傲慢自大，这表明他仍然不成熟。然后巨大的危机爆发，他失去了一切，陷入了彻底的绝望。我们意识到，要成为真正的英雄，他必须停止不假思索地依赖这些神秘的力量。他必须重新回到起点，自觉地学会如何自立，成为自己命运、自己性格的主人。只有当他的内在地位完全成长，完全成为“自己的人”时，在整个故事中以这种或那种方式困扰着他的黑暗力量才能最终被识破并摆脱。直到现在，他才获得解放，与他的“另一半”公主完全结合，象征着他已经达到的个人完整状态：只有现在，他才真正适合成功地明智而公正地统治王国。他已经到达了旅程的终点。并成为完全的“他自己的人”，在整个故事中以某种方式困扰着他的黑暗力量最终能否被识破并摆脱。直到现在，他才获得解放，与他的“另一半”公主完全结合，象征着他已经达到的个人完整状态：只有现在，他才真正适合成功地明智而公正地统治王国。他已经到达了旅程的终点。并成为完全的“他自己的人”，在整个故事中以某种方式困扰着他的黑暗力量最终能否被识破并摆脱。直到现在，他才获得解放，与他的“另一半”公主完全结合，象征着他已经达到的个人完整状态：只有现在，他才真正适合成功地明智而公正地统治王国。他已经到达了旅程的终点。
We can now see what the whole story was really about: the journey of a human being from unformed childhood to a final state of complete personal maturity. In the first half we see Aladdin, as he grows up from boyhood to adulthood, discovering that he has immense powers at his command, which bring him a dazzling marriage and glorious outward success on the stage of the world. But in no sense is he yet fully developed and mature; and this is symbolised in the way he has owed everything to the genies. He becomes forgetful of this and begins to behave hubris-tically, showing how immature he still is. Then the great crisis erupts and he loses everything, falling into total despair. We realise that, to become a true hero, he must cease to rely unthinkingly on these mysterious powers. He must go back to the beginning again and learn consciously how to stand on his own feet, and to become master of his own fate, his own character. Only when he has thus grown fully in inner stature, and become completely ‘his own man’ can the dark power which in one way or another has dogged him throughout the story be finally seen through and thrown off. Only now is he liberated to become completely united with his ‘other half’, the Princess, symbolising the state of personal wholeness he has reached: and only now is he truly fitted to succeed to rule wisely and justly over the kingdom. He has reached the end of his journey.
现在让我们将白手起家情节的完整版本与我们的第二个表面上非常不同的例子夏洛特·勃朗特的《简·爱》（1847）进行比较。
Let us now compare this fully-developed version of the Rags to Riches plot with our second, outwardly very different example, Charlotte Bronte’s Jane Eyre (1847).
故事从女主角开始，她是一个不守规矩、悲惨的小孤儿，和她母亲的妹妹里德阿姨住在一起。当简处于愤怒之中时，没有什么办法可以控制她，有一天，福音派正直的可怕支柱布罗克赫斯特先生出现了，他装出只想为简的最大利益服务的样子，把她带到洛伍德的孤儿院。简进入这个陌生的新世界是一次可怕的磨难，但当简经历了磨难后，她最终安定下来，在几年的稳步进步中成长为一个思想严肃、多才多艺的十几岁女孩。这与阿拉丁故事的第一阶段相对应，因为它展示了简从一个不守规矩的孩子转变为一个即将成年的严肃的年轻女性。
The story begins with the heroine as an unruly and miserable little orphan living with her mother’s sister, Aunt Reed. Nothing can be done to control Jane when she is in one of her rages and one day the fearsome pillar of evangelical rectitude Mr Brocklehurst appears, making a show of only wanting to serve Jane’s best interests, to take her off to the orphanage at Lowood. Her introduction to this strange new world is a terrifying ordeal, but when Jane has come through it she eventually settles down to several years of steady progress, blossoming into a serious-minded and accomplished girl in her late teens. This corresponds to the first phase of Aladdin’s story, as it shows Jane being transformed from an unruly child into a serious young woman on the verge of adult life.
她故事的第二部分展示了她以一种新的方式走向更广阔的世界，当她在桑菲尔德的大宅里开始第一份工作时，担任富有而神秘的罗切斯特先生的女儿的家庭教师。她对罗切斯特怀有深深但看似绝望的爱。她几乎不敢想象自己会有幸嫁给他。事实上，很长一段时间以来，他似乎肯定会嫁给另一个人，一个出身名门、傲慢的邻居布兰奇·英格拉姆。但最终，令简惊讶的是，罗切斯特宣布了他对他的爱“朴素的小家庭女教师”，并向她求婚。看似不可思议的幸福结局即将到来，但现在有大量不祥的迹象表明，在幕后，一切都不太好。事实是，尽管婚礼的准备工作正在如火如荼地进行，罗切斯特也正在购买漂亮的衣服来打扮他的新娘，但她内心还没有准备好接受生活和地位上这种仓促的转变。她仍然是一个不成熟、未发育的女孩，对生活和世界的阴暗面知之甚少：然后，即使她走近结婚的圣坛，故事的中心危机也爆发了。
The second part of her story shows her going out into the wider world in a new way, when she takes up her first employment at the great house of Thornfield, as governess to the daughter of the rich and mysterious Mr Rochester. She conceives a deep but seemingly hopeless love for Rochester. She can hardly dare think she would ever be fortunate enough to marry him. Indeed for a long time it seems certain that he will marry someone else, a well-born, arrogant neighbour Blanche Ingram. But eventually, to Jane’s astonishment, Rochester declares his love for his ‘plain little governess’, and asks her to marry him. It might seem an unthinkable happy ending was imminent, except that there are now abundant ominous signs that, behind the scenes, all is not well. The truth is that, even as preparations are going ahead for the wedding and Rochester is buying fine clothes to deck out his bride, she is inwardly not yet ready for this over-hasty transformation in her life and status. She is still an immature, undeveloped girl, who knows little of the dark side of life and the world: and then, even as she approaches the altar to be married, the central crisis of the story erupts.
教堂后面传来一个声音，说婚礼不能举行，因为罗切斯特已经结婚了。事实证明，多年来他一直把他疯狂的第一任妻子藏在桑菲尔德庄园楼上的一个房间里。就像阿拉丁一样，当魔法师把他的公主、宫殿和神灯抢走到非洲的那一刻，简看似辉煌的新世界就变成了废墟。绝望中，她逃离了桑菲尔德，心烦意乱地在荒凉、荒凉的荒原上徘徊。三天后，寒冷、虚弱和饥饿的她倒在一间小屋门口等死，在千钧一发之际，她被看似和蔼可亲的牧师圣约翰·里弗斯救了出来。在里弗斯姐妹的照顾下，简逐渐恢复了体力：然后我们看到，就像《阿拉丁》中的那样，她的故事中一个非常重要的新阶段。我们看到简自己建立了自己的房子，开办了一所成功的小学校，并有生以来第一次学会自立，发展出一种她以前从未了解过的内在力量和独立精神：直到，作为一个作为她新获得的自主权的标志，她得知自己神秘地继承了一笔微薄的财富，使她外表和内心都变得独立。
A voice calls out from the back of the church that the wedding cannot take place because Rochester is already married. It turns out that for years he has been concealing his crazed first wife in an upstairs room at Thornfield Hall. Just as with Aladdin, at the moment when the Sorcerer snatches his Princess, palace and lamp away to Africa, Jane’s seemingly glorious new world is in ruins. In despair she runs away from Thornfield, to wander distractedly over the bleak, inhospitable moors. After three days, cold, weak and starving, she falls down on a cottage doorstep to die – when, in the nick of time, she is rescued, by the seemingly kindly clergyman St John Rivers. Under the care of Rivers’s sisters, Jane gradually recovers her strength: and we then see, as in Aladdin, a very significant new phase in her story. We see Jane setting up house on her own, opening a successful little school, and for the first time in her life learning to stand on her own feet, developing an inner strength and independence of spirit she has never known before: until, as a mark of her newly-won autonomy, she learns that she has mysteriously inherited a modest fortune, making her outwardly as well as inwardly independent.
但即使是现在，就像阿拉丁一样，通过自己的努力，他能够找回神灯并从非洲返回家园，简也必须面对最后一次可怕的考验，比她以前必须应对的任何考验都近乎致命。意志坚强、信奉福音派、虚伪的圣约翰·里弗斯（St John Rivers）——一个“假圣人”——使用他所有的权力强迫她嫁给他，并陪伴他作为传教士前往印度，简知道这对她的健康肯定是致命的。尽管她试图反抗，但她感觉自己的反抗力量正在消失，正要屈服的时候，她听到一个遥远而神秘的声音呼唤着她的名字，仿佛来自半个世界。这是罗切斯特的声音。她体内涌现出一种非凡的新力量（正如她所说，“我的力量终于发挥了作用”）。她在半夜逃离了房子，穿过乡村来到桑菲尔德，在那里她发现房子最近被烧毁了。神秘的第一任罗切斯特夫人在火灾中丧生。她的黑暗对手已经消失了。简在森林中央找到了孤独且失明的罗切斯特。她充满爱心地护理他恢复健康和视力。他们终于结婚了并且完全团结在一起。他们最终统治了自己的小王国，并且正如小说所允许的那样，“从此幸福快乐地生活”。
But even now, like Aladdin when through his own efforts he has been able to recover the lamp and return home from Africa, Jane has to face one last terrifying ordeal, more nearly deadly than anything she has had to contend with before. The iron-willed, evangelical and hypocritical St John Rivers – a ‘false Holy Man’ – uses all his powers to force her to marry him, and to accompany him as a missionary to India, which Jane knows would certainly be fatal to her health. Although she tries to resist, she feels her powers of resistance slipping away and is on the verge of succumbing, when she hears a distant, mysterious voice calling her name, as if from half across the world. It is the voice of Rochester. An extraordinary new strength wells up in her (at last, as she puts it, ‘my powers were in play’). She flees the house in the middle of the night and rushes across the countryside to Thornfield, where she finds that the house has recently burned down. The shadowy first Mrs Rochester has died in the fire. Her dark rival has gone. Jane finds Rochester, alone and blind, in the middle of a forest. She lovingly nurses him back to health and sight. They are at last married and completely united. They end up presiding over their little kingdom and, as nearly as a novel will allow, living ‘happily ever after’.
因此，我们在《简·爱》中看到的故事基本结构与《阿拉丁》惊人地相似：一个年轻的中心人物从最初的依赖、未成形的童年状态一步步走向完全自我实现的最终状态的过程。和完整性。显然是最重要的之一这类故事的特点是它分为“两半”，并以“中心危机”为间断。在前半部分，我们看到男主人公或女主人公从童年开始，表面上看起来很成功，但他们还没有完全成熟。然后，他们遇到了一场危机，导致他们面临更艰巨的任务，即变得更加全面发展和自力更生。这导致了故事的高潮，他们与黑暗人物和力量进行了最后的对抗，这些人物和力量以某种方式在整个故事中给他们蒙上阴影。只有当他们通过了这个考验时，他们才能最终获得解放，享受完整和满足的状态，这标志着故事的结局。
What we thus see in Jane Eyre is a fundamental structure to the story strikingly similar to that of Aladdin: the process whereby a young central figure emerges step by step from an initial state of dependent, unformed childhood to a final state of complete self-realisation and wholeness. Obviously one of the most significant features of this type of story is the way it divides into two ‘halves’, punctuated by the ‘central crisis’. In the first half we see the hero or heroine emerging from childhood to a state where they may seem outwardly successful, except that they are by no means yet fully mature. They then encounter a crisis which leads them on to the harder task of becoming much more fully-developed and self-reliant. This leads up to the ordeal which provides the story’s climax, where they have a final confrontation with the dark figures and powers who, in one way or another, have overshadowed them through the story. Only when they have come through this test are they finally liberated to enjoy the state of wholeness and fulfilment which marks the conclusion of the tale.
白手起家的故事越长、越成熟，我们就越有可能看到实现最终目标的步骤被详细阐述；就像我们在许多其他基于这一情节的小说中所做的那样，例如《摩尔·弗兰德斯》、《远大前程》或《大卫·科波菲尔》。
The longer and more fully-developed a Rags to Riches story becomes, the more likely we are to see these steps to the ultimate goal spelled out in detail; as we do in the many other novels based on this plot such as Moll Flanders, Great Expectations or David Copperfield.
在《大卫·科波菲尔》的前半部分，我们看到这位小孤儿英雄基本上经历了我们在《阿拉丁》和《简·爱》中看到的所有基本发展阶段。，直到他与第一任妻子多拉结婚。但从她自私、幼稚的本性和他们婚姻的感性本质来看，很明显，主人公并没有达到他真正的目标，因为他自己还没有完全成熟，当他的童妻在一段时间后患病并去世时，流产后，他面临着核心危机。然后开始了他故事的第二部分，随着他成为一名成功作家的职业生涯，他作为一个男人的发展更加成熟。在这个阶段，我们看到他真正的“另一半”，对应于他新的深度和成熟度，是无私、鼓舞人心的艾格尼丝·伍德沃德。但她处于科波菲尔“黑暗对手”、含沙射影的尤赖亚·希普的阴影之下，后者正计划娶她（作为魔法师和圣约翰·里弗斯的混合体）。
In the first half of David Copperfield, we see the little orphan hero going through essentially all the basic stages of development we have seen in Aladdin and Jane Eyre, up to the point where he marries his first wife, Dora. But from her selfish, infantile nature and the sentimental nature of their marriage, it is clear that the hero has not reached his true goal, because he himself has not yet developed to full maturity, and when his child-wife sickens and dies after a miscarriage, he faces his central crisis. Then begins the second part of his story, where he becomes much more fully developed as a man, as he builds up his career as a successful writer. In this phase we see that his true ‘other half’, corresponding to his new depth and maturity, is the selfless, inspiring Agnes Woodward. But she is under the shadow of Copperfield’s ‘dark rival’, the insinuating Uriah Heep, who is scheming to marry her (as a kind of cross between the Sorcerer and St John Rivers). Only when Heep’s scheming is exposed and his power overthrown at the climax of the story are hero and heroine at last freed to come together in complete, loving union.
然而，即使在主题的简单版本中，我们仍然看到大致相同的基本结构，故事分为两个部分，由中心危机分开，强调男女主人公面临的真正任务从来都不是一件简单的任务。一般来说，白手起家的情节可以总结为以下几点：
Even in simpler versions of the theme, however, we still see much the same essential structure, with the story dividing into two parts, separated by the central crisis, emphasising that the real task facing the hero or heroine is never a simple one. And in general the Rags to Riches plot can be summed up along the following lines:
白手起家：总结
Rags to Riches: Summing up
故事在人类想象中自然形成的第二种方式是，展示一些年轻的、未被认可的英雄或女英雄如何最终摆脱默默无闻、贫穷和痛苦，进入辉煌和幸福的状态。但他们的向上进步不太可能是连续不间断的攀登，大多数白手起家的故事，除了最简单的版本外，很可能会通过一系列可识别的阶段展开，如下所示：
A second way in which a story naturally takes shape in the human imagination is that which shows how some young, unrecognised hero or heroine is eventually lifted out of obscurity, poverty and misery to a state of great splendour and happiness. But their upward progress is unlikely to be a continuous unbroken climb, and most Rags to Riches stories, except the very simplest versions, may well unfold through a recognisable series of stages like this:
1.最初在家中的不幸和“召唤”：我们首先被介绍给年轻的男女主人公，他们通常是在家里，处于最初的卑微和不快乐的状态。他们遭受苦难的最明显原因是他们被周围恶毒的“黑暗”人物所蒙蔽，这些人蔑视或虐待他们。当有事情发生召唤或将他们送入更广阔的世界时，这个阶段就结束了。
1. Initial wretchedness at home and the ‘Call’: We are first introduced to the young hero or heroine in their original lowly and unhappy state, usually at home. The most obvious reason for their misery is that they are overshadowed by malevolent ‘dark’ figures around them, who scorn or maltreat them. This phase ends when something happens to call or send them out into a wider world.
2.走向世界，初步成功：虽然这个新阶段可能会面临新的考验，但英雄或女主人公在这里获得了他们第一次有限的成功，并且可能对他们最终的辉煌命运有了一些预感。他们可能会与他们的“公主”或“王子”初次相遇，甚至可能超越“黑暗对手”；但只是以某种不完整的方式，而且很明显，他们还没有为完全实现的最终状态做好准备。
2. Out into the world, initial success: Although this new phase may be marked by new ordeals, the hero or heroine are here rewarded with their first, limited success, and may have some prevision of their eventual glorious destiny. They may make a first encounter with their ‘Princess’ or ‘Prince’, and may even outstrip ‘dark rivals’; but only in some incomplete fashion, and it is made clear that they are not yet ready for their final state of complete fulfilment.
3.中心危机：一切突然变得不对劲。黑暗人物投下的阴影又回来了。男主角或女主角与对他们来说比世界上任何事物都重要的东西分离了，他们被绝望压垮了。由于他们之前的命运有所提升，而且由于他们如此无能为力，所以这是他们故事中最糟糕的时刻。
3. The central crisis: Everything suddenly goes wrong. The shadows cast by the dark figures return. Hero or heroine are separated from that which has become more important to them than anything in the world, and they are overwhelmed with despair. Because of the earlier lift in their fortunes, and because they are so powerless, this is their worst moment in the story.
4.独立和最后的考验：当他们走出危机时，我们逐渐以新的眼光看待男女主角。尽管仍未实现，但他们正在自己身上发现新的独立力量。随着事情的发展，它最终必须接受最后的考验，通常又涉及与一些强大的黑暗人物的战斗，这些人物作为黑暗的对手站在他们和他们的目标之间；这构成了整个故事的高潮。只有成功地解决了这个问题，彻底消除了他们生活中的阴影，他们才终于获得解放，进入最后的阶段。
4. Independence and the final ordeal: As they emerge from the crisis, we gradually come to see the hero or heroine in a new light. Although still unfulfilled, they are discovering in themselves a new independent strength. As this develops, it must at last be put to a final test, again usually involving a battle with some powerful dark figure who stands, as a dark rival, between them and their goal; and this forms the climax to the whole story. Only when this has been successfully resolved, and the shadow over their lives wholly removed, are they at last liberated to move to the final stage.
5.最终的结合、完成和实现：他们的回报通常是与“公主”或“王子”完全、充满爱的结合。他们也可能最终继承某种“王国”，其性质并未阐明，但从其成熟和发达的状态来看，这意味着他们将明智而良好地统治一个领域。因此，故事的结局是一个意象，它象征着一种完美的完整状态，无限期地持续到未来（“他们从此过上了幸福的生活”）。
5. Final union, completion and fulfilment: Their reward is usually a state of complete, loving union with the ‘Princess’ or ‘Prince’. They may also finally succeed to some kind of ‘kingdom’, the nature of which is not spelled out but which, from their mature and developed state, implies a domain over which they will rule wisely and well. The story thus resolves on an image which signifies a perfect state of wholeness, lasting indefinitely into the future (‘they lived happily ever after’).
正如在《战胜怪物》情节中一样，我们看到，从最深层的角度来看，白手起家的故事是通过收缩和扩张的交替阶段展开的。我们从在开场场景中遭受蔑视甚至迫害的男女主人公开始。随之而来的是，当他们走向世界并取得早期的微薄成功时，他们会感到逐渐开放并燃起希望。但这种情况因中央危机的冲击而戛然而止，带来了新的压抑感。随着他们变得更加成熟，他们会再次逐渐开放，直到接受高潮的考验，此时收缩感达到最严重的程度。只有到那时我们才能看到最后的解放行动，使他们在故事的结尾取得胜利，
As in the Overcoming the Monster plot, we see that, at its deepest level, the Rags to Riches story unfolds through alternating phases of constriction and expansion. We begin with the hero or heroine weighed down by the contempt and even persecution to which they are exposed in the opening scenes. This is followed by the sense of a gradual opening out and lifting of their hopes as they go out into the world and meet with their modest early successes. But this is abruptly ended by the shock of the central crisis, imposing a new sense of constriction. Again there is a gradual opening out, as they develop a deeper maturity, until this is put to a climactic test, when the sense of constriction is at its most severe. Only then can we see the final act of liberation which enables them to emerge triumphant at the end of the story, having won the prize which gives them a sense of complete fulfilment and a hold on life which will continue indefinitely into the future.
黑暗版本
The dark version
一旦我们熟悉了这类故事的基本轮廓，我们就能认识到主题的一个变体，可以被称为“白手起家”情节的“黑暗”版本。这是一种讲述英雄或女英雄试图遵循从贫穷到富有的一般模式，但在某种程度上未能得出完全有益的结论。
Once we are familiar with the essential outlines of this type of story we can recognise a variation on the theme which may be called the ‘dark’ version of the Rags to Riches plot. This is the sort of tale which shows a hero or heroine who attempts to follow the general pattern of the climb from rags to riches, but in some way fails to arrive at its fully rewarding conclusion.
司汤达的小说《红与黑》就是一个可以被视为“白手起家”故事的完整“黑暗”版本的例子。（1831）。这向我们介绍了一位出身卑微的小英雄，他在拿破仑倒台后的几年里生活在法国一个不起眼的省级城镇。朱利安·索雷尔（Julien Sorel）是一个聪明的男孩，喜欢读书，但他的实际、务实的父亲和哥哥们却对他嗤之以鼻（我们没有听到他母亲的消息，她似乎不在场）。从这个意义上说，他一开始很像许多白手起家的民间故事中的英雄，一个小梦想家，他的头脑显然在云端，他被他缺乏想象力的家庭蔑视和拒绝。但索雷尔并不像传统的民间故事英雄。他雄心勃勃。他的梦想是赢得尘世的荣耀，就像他的英雄拿破仑一样，总的来说，他对世界其他地方的态度是一种蔑视。当他接近成年生活时，他以一种有限的方式离开家，与他们居住的小镇上的一位年长的已婚妇女有染，但最终他轻蔑地拒绝了她。然后，他前往一所面向未来牧师的神学院，但这只是因为他计算出教会是一个贫穷男孩进一步实现其世俗野心的最佳踏脚石。他对同学的态度又是一种无情的蔑视。最终，索雷尔前往他所有野心的中心，伟大的巴黎，在那里他赢得了法国最有权势的人、伟大的德拉莫尔侯爵的私人秘书职位。他不择手段地侵入了雇主美丽的女儿玛蒂尔德（他喜欢在性方面羞辱她）的心，似乎即将与她结婚并继承拥有巨大权力和财富的“王国”。但就在最后一刻，灾难降临了。多年前被他抛弃的不幸的情妇又回到了他的生活中，她的复仇欲望让她着迷。为了保住自己的新前景，他试图谋杀她，但最终并没有和他的“公主”一起走上祭坛，而是名誉扫地，上了断头台。
An example of what may be regarded as the full ‘dark’ version of the Rags to Riches story is Stendhal’s novel Le Rouge et Le Noir (1831). This introduces us to a little hero of humble origins living in an obscure provincial town in France in the years after the fall of Napoleon. Julien Sorel, a clever boy who enjoys reading books, is scorned by his practical, down-to-earth father and older brothers (we hear nothing of his mother, who appears to be absent). In this sense he starts off much like the heroes of many Rags to Riches folk tales, the little dreamer, his head apparently in the clouds, who is scorned and rejected by his unimaginative family. But Sorel is not like the traditional folk tale hero. He is profoundly ambitious. His dreams are of winning earthly glory, like his hero Napoleon, and in general his attitude towards the rest of the world is one of contempt. As he nears adult life, he goes out from home in a first, limited way, by having an affair with an older married woman in the town where they live, but eventually he contemptuously rejects her. He then goes off to a seminary for prospective priests, but only because he has calculated that the Church is the best stepping stone for a poor boy to further his worldly ambitions. Again his attitude towards his fellow students is one of heartless scorn. Eventually Sorel travels to the centre of all his ambitions, the great city of Paris, where he wins the post of private secretary to the magnificent Marquis de la Mole, the most powerful man in France. He unscrupulously worms his way into the heart of his employer’s beautiful daughter Mathilde (whom he enjoys humiliating sexually) and seems on the verge of marrying her and succeeding to the ‘kingdom’ of immense power and riches. But at the last moment, disaster strikes. The unhappy mistress he had discarded years before comes back into his life, obsessed with her desire for revenge. In a desperate bid to hold onto his new prospects, he attempts to murder her – and ends up, not at the altar with his ‘Princess’, but disgraced and on the guillotine.
显然，无情、自私的索雷尔和我们一直在关注的白手起家故事中本质上善良的男女主人公之间存在着巨大的差异（他们与他们的自私的黑暗人物形成了鲜明的对比）主要对手和对手）。当索雷尔在他的故事中与他人发生任何形式的对立时，正是他们成为了他的利己主义的受害者，而不是相反。他自己确实是一种‘怪物’。然而，从表面上看，他所追求的最终目标与我们在更传统的白手起家故事中看到的中心象征目标非常相似。他所渴望的是与“心爱的人”结合并继承一个强大的权力地位：只不过他追求这些东西只是为了满足自私的手段，表达了他对凌驾于他人之上的权力的渴望。最终，他实现这一目标的动力不仅受挫，而且还受到了挫败。这会导致他的彻底毁灭。
Obviously there is a huge difference between the heartless, self-seeking Sorel and the essentially good-hearted heroes and heroines of the Rags to Riches stories we have been looking at (who are so specifically contrasted with the self-seeking dark figures who are their main antagonists and rivals). When Sorel comes into any kind of opposition to others in his story, it is they who become victims of his egotism rather than the other way around. He himself is indeed a kind of ‘monster’. Yet, outwardly, the ultimate goal he is seeking is remarkably similar to that central symbolic goal we see in more conventional Rags to Riches stories. What he aspires to is union with ‘the beloved other’ and succession to a position of great power: except that he is after these things only as a means to egotistical gratification, as expressions of his desire for power over others. And in the end his drive for that goal is not just frustrated; it brings about his complete destruction.
白手起家情节的另一个不太“黑暗”的版本可以在这样的故事中看到，英雄可能实际上实现了这些目标，但只是以一种空洞并带来挫败感的方式，因为他再次只以一种外在和自我中心的时尚。巴德·舒尔伯格的好莱坞小说《是什么让萨米奔跑？》（1940）将主人公萨米·格利克（Sammy Glick）描绘成一个冷酷无情、以自我为中心的小人物。来自纽约贫民窟的孤儿努力攀登世俗成功的阶梯，首先是在报纸界，然后是好莱坞。他最终似乎得到了完美的传统幸福结局。他赢得了一家大电影制片厂全能老板美丽的上流社会女儿的芳心；当他未来的岳父任命他为工作室负责人（取代了一直帮助他、被他伤害和羞辱的仁慈父亲形象）时，英雄“继承了王国”。但随之而来的是尾巴上的刺痛。他的好莱坞婚礼刚刚举行，时尚名流回到他的豪宅参加庆祝派对，英雄就发现他的“公主”在楼上，正在与工作室一位英俊的年轻明星做爱。她和格里克本人一样无情、自私，嫁给他只是为了满足自己的野心。他表面上可能已经娶了“公主”并“继承了王国”。但他根本没有达到那种光荣的完成和内心满足的状态，而这正是《白手起家》故事的正确目标。小说的全部要点是展现无情的小主人公典型地从白手起家到富有的过程，但最终却让他凝视着一个完全空虚的黑洞；正是因为他这样做的方式不会导致其他结果。但他根本没有达到那种光荣的完成和内心满足的状态，而这正是《白手起家》故事的正确目标。小说的全部要点是展现无情的小主人公典型地从白手起家到富有的过程，但最终却让他凝视着一个完全空虚的黑洞；正是因为他这样做的方式不会导致其他结果。但他根本没有达到那种光荣的完成和内心满足的状态，而这正是《白手起家》故事的正确目标。小说的全部要点是展现无情的小主人公典型地从白手起家到富有的过程，但最终却让他凝视着一个完全空虚的黑洞；正是因为他这样做的方式不会导致其他结果。
Another lesser ‘dark’ version of the Rags to Riches plot can be seen in the kind of story where the hero may actually achieve these goals, but only in a way which is hollow and brings frustration, because again he has sought them only in an outward and egocentric fashion. Budd Schulberg’s Hollywood novel What Makes Sammy Run? (1940) shows its hero Sammy Glick as a ruthlessly egocentric little orphan from the New York slums pushing his way up the ladder of worldly success, first in the newspaper world, then in Hollywood. He ends up seemingly rewarded with the perfect traditional happy ending. He wins the hand of the beautiful, upper-class daughter of the all-powerful owner of a major film studio; and when his prospective father-in-law appoints him head of the studio (in place of the kindly father-figure who had consistently helped him on, and whom he had broken and humiliated), the hero ‘succeeds to the kingdom’. But then comes the sting in the tail. No sooner has his glittering Hollywood wedding taken place, and the fashionable throng of celebrities returned to his mansion for the celebratory party, than the hero discovers his ‘Princess’ upstairs, making love to one of the studio’s handsome young stars. She is as heartless and self-seeking as Glick himself, and has only married him to serve her own ambitions. He may outwardly have married the ‘Princess’ and ‘succeeded to the kingdom’. But in no way has he reached that state of glorious completion and inner fulfilment which is the proper goal of the Rags to Riches story. The novel’s whole point is to show its heartless little hero acting out the archetypal climb from Rags to Riches, yet in a way which leaves him at the end staring at a black hole of total emptiness; precisely because he has done it in a fashion which can lead to no other outcome.
我们稍后会看到，白手起家的情节绝不是唯一可以产生此类“黑暗”版本的故事类型。然而，重要的是，这些故事如何按照与“轻”版本走向幸福结局的方式完全相同的规则，走向自我毁灭的结局。在了解这一原则在整个讲故事过程中如何巧妙且一致地发挥作用时，我们将揭开故事所提供的最重要的秘密之一。
We shall later see that the Rags to Riches plot is by no means the only type of story which can give rise to ‘dark’ versions like this. Yet what is significant is how these unfold to their self-destructive endings by precisely the same rules which govern the way in which the ‘light’ versions proceed to their happy endings. In coming to understand just how subtly and consistently this principle operates all through storytelling we shall uncover one of the most important secrets stories have to offer.
第4章
任务
Chapter 4
The Quest
“先生，我马上就要出发了；
‘I have a journey, sir, shortly to go;
我的主人召唤我，我不能拒绝。”
My master calls me, I must not say no.’
《李尔王》第三卷中的肯特
Kent in King Lear, v.iii
老巫师甘道夫说，在遥远的魔多，有一座巨大的火山。他告诉年轻的英雄弗罗多，你的任务是带着一枚无价的戒指前往那个遥远的地方，并将其扔进末日裂缝中。当特里劳尼乡绅和利夫西博士查看年轻英雄吉姆·霍金斯在死者箱子中发现的羊皮纸地图时，他们发现地图揭示了一个遥远荒岛上的地方，那里埋藏着神话般的海盗宝藏。他们立即同意必须航行去寻找它。当奥德修斯在特洛伊被洗劫后与他的部下出发时，他唯一的愿望就是回到遥远的伊萨卡岛王国和他心爱的妻子佩内洛普的家乡。
In the distant land of Mordor, says Gandalf, the old wizard, there is a mighty volcanic mountain. Your task, he tells Frodo, the young hero, is to journey to that far-off place, carrying a priceless ring, and cast it into the Cracks of Doom. When Squire Trelawney and Dr Livesey look at the parchment map the young hero Jim Hawkins has found in a dead man’s chest, they see that it reveals the place on a far-off desert island where a fabulous pirate treasure is buried. They at once agree that they must sail in search of it. When Odysseus embarks with his men after the sack of Troy, his only desire is to return home to his far-off island kingdom of Ithaca and his beloved wife Penelope.
没有任何类型的故事比任务更容易被我们识别。我们了解到，在遥远的地方，有一些无价的目标，值得不惜一切努力去实现：宝藏；应许之地；具有无限价值的东西。从英雄得知这个奖品的那一刻起，踏上漫长危险的旅程去获得它就成为了他世界上最重要的事情。无论途中有什么危险和消遣，这个故事都是由这一压倒一切的命令所塑造的；直到目标最终胜利实现之前，故事仍然悬而未决。
No type of story is more instantly recognisable to us than a Quest. Far away, we learn, there is some priceless goal, worth any effort to achieve: a treasure; a promised land; something of infinite value. From the moment the hero learns of this prize, the need to set out on the long hazardous journey to reach it becomes the most important thing to him in the world. Whatever perils and diversions lie in wait on the way, the story is shaped by that one overriding imperative; and the story remains unresolved until the objective has been finally, triumphantly secured.
世界上一些最著名的故事都是探索：荷马的《奥德赛》、维吉尔的《埃涅阿斯纪》、但丁的《神曲》、班扬的《天路历程》。这一主题激发了各种神话、传说、童话故事和故事的灵感，包括托尔金的《指环王》、理查德·亚当斯的《水船坠落》或史蒂文·斯皮尔伯格的《夺宝奇兵》等流行的现代例子。
Some of the most celebrated stories in the world are quests: Homer’s Odyssey, Virgil’s Aeneid, Dante’s Divine Comedy, Bunyan’s Pilgrim’s Progress. The theme has inspired myths, legends, fairy tales and stories of all kinds, right up to such popular modern examples as Tolkien’s The Lord of the Rings, Richard Adams’s Watership Down or Steven Spielberg’s Raiders of The Lost Ark.
从表面上看，基于《探索》情节的故事似乎截然不同。例如，考虑英雄正在寻求的各种目标。它可能是一些神话般的埋藏宝藏，如史蒂文森的金银岛或莱德哈格德的所罗门王矿井。它可能是其他一些更神秘的无价之宝，例如亚瑟王的骑士所寻求的金羊毛或圣杯，或者是最著名的斯拉夫民间故事之一的英雄所寻求的金火鸟，或者是最伟大的斯拉夫民间故事之一。犹太传统中的神圣宝藏， 《夺宝奇兵》中的“约柜” 。它可能是“家”，就像奥德修斯所说的那样特洛伊战争后的流浪。它可能是某个新家，就像埃涅阿斯所寻找的那样，或者是犹太人从埃及逃往“应许之地”时所寻找的，或者是沃特希普镇逃跑的兔子所寻找的。这可能是不朽的秘密，正如吉尔伽美什在通往世界末日的旅程中所寻求的那样，或者只是许多第二次世界大战战俘营逃亡故事中逃亡者所梦想的遥远的“自由”。它可能是天城，天堂本身，就像《天路历程》或《神曲》中那样。
On the face of it, stories based on the plot of the Quest could hardly seem more disparate. Consider, for instance, the variety of the goals the hero is seeking. It may be some fabulous buried treasure, as in Stevenson’s Treasure Island or Rider Haggard’s King Solomon’s Mines. It may be some other, rather more mysterious priceless object, such as the Golden Fleece or the Holy Grail sought by King Arthur’s knights, or the Golden Firebird, sought by the hero of one of the most famous of Slav folk tales, or the most sacred treasure in Jewish tradition, the ‘Ark of the Covenant’ in Raiders of the Lost Ark. It may be ‘home’, as in Odysseus’s wanderings after the Trojan War. It may be some new home, as was sought by Aeneas, or by the Jews in their exodus from Egypt towards the ‘promised land’, or by the fleeing rabbits in Watership Down. It may be the secret of immortality, as was sought by Gilgamesh in his journey to the end of the world – or simply the distant ‘freedom’ dreamed-of by the escapers in so many Second World War prison-camp escape stories. It may be the Celestial City, Paradise itself, as in Pilgrim’s Progress or the Divine Comedy.
然而，当我们更仔细地审视这些故事时，我们发现它们揭示了一些惊人的相似之处。
Yet when we come to examine such tales more closely, we find that they reveal some startling similarities.
召唤
The Call
我们首先从英雄和他的同伴踏上旅程的原因开始。探索通常以最紧急的冲动开始。对于英雄来说，安静地“呆在家里”（或者无论他在哪里）已经变得不可能了。一些可怕的威胁已经出现。“时代已经脱节”。出现了严重且可怕的错误。
We begin with the reason why the hero and his companions set out on their journey in the first place. The Quest usually begins on a note of the most urgent compulsion. For the hero to remain quietly ‘at home’ (or wherever he happens to be) has become impossible. Some fearful threat has arisen. The ‘times are out of joint’. Something has gone seriously and terrifyingly wrong.
埃涅阿斯的故事开始于他心爱的特洛伊城被希腊人洗劫时，那里熊熊烈火、滚滚浓烟和崩塌的砖石建筑。《天路历程》中的克里斯蒂安有一个噩梦般的异象，他看到他所居住的城市“将被天上的火烧毁”。在《沃特希普镇》中，桑德福德沃伦的一只兔子，直觉敏锐的小菲弗，感觉到“一些可怕的事情——越来越近”，并看到他和其他兔子玩耍的场地“沾满了血”。在埃及生活多年后，犹太人正遭受野蛮的迫害，他们的生活“因严酷的奴役而变得痛苦”，他们的儿子被谋杀。
The story of Aeneas begins amid the roaring flames, billowing smoke and crashing masonry of his beloved Troy, as it is being sacked by the Greeks. Christian in Pilgrim’s Progress has a nightmare vision in which he sees that the city he lives in ‘will be burned with fire from heaven’. In Watership Down, one of the rabbits in Sandleford warren, the intuitive little Fiver, feels ‘some terrible thing – coming closer and closer’, and has a vision of the field where he and the other rabbits play ‘covered with blood’. After living many years in Egypt, the Jews are being subjected to a savage persecution, their lives ‘made bitter with hard bondage’, their sons murdered.
在这种恐惧和痛苦之中，召唤来临了。在特洛伊冒烟的废墟中，埃涅阿斯失去的妻子克瑞莎的鬼魂“比生命更伟大”地出现，告诉他，跨越“一片巨大的海洋”，在“西方土地”，他将找到一个新家。克里斯蒂安遇到了福音传教士，后者指出了远处的“闪亮的光芒”，并告诉他必须前往那里。菲弗预感到桑德尔福德沃伦将遭受重大灾难，这一预感变得如此强烈，以至于一小群兔子在田野里相遇，并决定逃入渐浓的黄昏。摩西在燃烧的荆棘中看到上帝的可怕异象，告诉他犹太人必须逃离埃及，他们最终将被带到“流奶与蜜之地”。
In the midst of this fear and suffering comes the Call. Amid the smoking ruins of Troy, the ghost of Aeneas’s lost wife Creusa looms up, ‘larger than life’, to tell him that across ‘a great waste of ocean’, in ‘the Western land’, he will find a new home. Christian meets Evangelist, who points out a distant ‘shining light’ and tells him that he must head for it. Fiver’s premonitions of some great disaster overshadowing Sandleford warren become so acute that a small band of rabbits meet in the field and decide to flee into the gathering dusk. Moses has a terrifying vision of God in the Burning Bush, telling him that the Jews must flee Egypt, and that they will eventually be brought up into ‘a land flowing with milk and honey’.
圣杯之旅始于一位奇怪的骑士来到亚瑟王的宫廷。事实证明，他是圆桌会议上唯一能够安全地坐在危险围城（“危险之地”）中的骑士：年轻英雄加拉哈德爵士看似奇迹般的到来被视为实现长期承诺的任务的信号为了圣杯，“将我们的国家从长期困扰它的魔法和奇怪事件中解放出来”。一声可怕的雷声响起，大厅里被一缕超越尘世的光芒照亮，骑士们对他们即将出发去寻找的圣杯有了一种空灵的预感。
The Grail Quest begins with the arrival at King Arthur’s court of a strange knight. He proves to be the only knight who can sit safely in the Siege Perilous, the ‘Seat of Danger’, at the Round Table: and this seemingly miraculous arrival of the young hero Sir Galahad is seen as the signal for the long-promised quest for the Holy Grail, ‘to free our country from the enchantments and strange events which have troubled it so often and so long’. There is a terrible clap of thunder, the hall is lit by a ray of more than earthly light, and the knights are given an ethereal prevision of the Grail for which they are about to set off in search.
《奥德赛》的结构如此巧妙，其闪回和故事中心的转变与叙事相关，以至于当荷马安排故事时，我们不知道一切都从奥德修斯开始。故事始于伊萨卡王国面临的可怕威胁，其国王奥德修斯多年来一直缺席。在追求者们争夺王后佩内洛普（她几乎放弃了奥德修斯回归的希望）的骚乱和放荡中，女神雅典娜拜访了他的儿子特勒马科斯，召唤而来。她派他前去寻找失踪的父亲，就好像年轻的特勒马科斯本人就是这次任务的英雄一样。直到相当长的一段时间之后，我们才终于与激发这首诗的真正追求结合在一起：奥德修斯寻求回家的旅程，这当然很早以前就开始了，就像埃涅阿斯在特洛伊冒烟的残骸中的旅程一样。
So subtly constructed is the Odyssey, with its flashbacks and shifts in the centre from which the narrative is related, that, as Homer arranges the story, we do not begin with Odysseus at all. The story begins with the terrible threat overhanging the kingdom of Ithaca, from which its king Odysseus has been absent for many years. Amid the riots and debauches of the suitors for the hand of his queen Penelope (who has all but given up hope that Odysseus will ever return), the Call comes in a visit by the goddess Athene to his son Telemachus. She sends him forth to search for his lost father, almost as if young Telemachus is himself the hero of the quest. It is not until some considerable time later that we finally join up with the real quest motivating the poem: that of Odysseus seeking to return home, which had of course begun long before, like that of Aeneas, in the smoking wreck of Troy.
被这种威胁和压迫的气氛所包围，任务英雄和他的朋友们感到强烈的逃离欲望。即便如此，他们在离开之前也可能会面临各种沮丧和反对。埃涅阿斯和他的朋友们勉强逃离了特洛伊。当克里斯蒂安讲述他可怕的预感并宣布他打算离开时，他遭到了普遍的嘲笑。与 Fiver 一起的一小群兔子遭到了兽群首领的猛烈攻击，以阻止他们逃跑（直到后来他们才发现他们的逃跑是多么的接近——在他们离开后不久，整个兽群就被毒气杀害了，被推土机挖掉了）。追求者们决心用武力阻止忒勒马科斯。虽然埃及的犹太人面临着最漫长的斗争，在埃及遭受七场瘟疫之后，他们才逃脱了暴虐的法罗王的魔掌。但最终，英雄和他的同伴们在一个对他们来说比世界上任何东西都更加珍贵和令人向往的目标的愿景的指引下出发了。1
Surrounded by this atmosphere of menace and constriction, the Quest hero and his friends feel under intense compulsion to get away. Even so, they may face every kind of discouragement and opposition before they can depart. Aeneas and his friends only escape from Troy by the skin of their teeth. Christian is universally scorned when he tells of his fearful premonitions, and announces his intention to leave. The little group of rabbits with Fiver are subject to a violent effort to stop them getting away by the leaders of the warren (it is only later they discover what a near thing their escape has been – shortly after their departure the whole warren is gassed and gouged out by bulldozers). The suitors make a determined effort to stop Telemachus by force. While the longest struggle of all is faced by the Jews in Egypt, who only escape the clutches of the tyrannical Phaoroah in Egypt after the land has been smitten with seven plagues. But at last, led on by visions of a goal which has become more precious and desirable to them than anything in the world, the hero and his companions set out.1
英雄的同伴们
The hero’s companions
我们可以说“英雄和他的同伴”，因为《探索》的一个显着标志是，与任何其他类型的故事相比，英雄在冒险中并不孤单。这个故事最终围绕着一个人物英雄。但比任何其他类型的故事更一致的是，我们也意识到陪伴他的朋友的存在和重要性。
We can say ‘the hero and his companions’ because a distinctive mark of the Quest is the extent to which, more than in any other kind of story, the hero is not alone in his adventures. The story does ultimately centre round the single figure of the hero. But more consistently than in any other type of story, we are also made aware of the presence and importance of the friends who accompany him.
事实上，英雄与其同伴的关系采用四种一般形式之一：并且由于这些基本类型的关系也通过各种故事更零星地被发现，因此必须注意它们。
In fact the relationship of the hero to his companions assumes one of four general forms: and since these basic types of relationship are also found, more sporadically, through stories of all kinds, they must be noted.
首先，英雄的同伴可能只是大量无差别的附属物，我们甚至连名字都知道的人也很少。这些就是与奥德修斯、埃涅阿斯的特洛伊人一起从特洛伊出发的十二艘船的人，或者是跟随摩西的犹太人的主力。
Firstly, the hero’s companions may simply be a large number of undifferentiated appendages, few if any of whom we even know by name. Such are the twelve boatloads of men who set out from Troy with Odysseus, Aeneas’s Trojans or the main body of the Jews who accompany Moses.
其次，英雄可能有一个另一个自我，除了忠诚之外，没有真正的区别标记。例如，基督教有忠实；埃涅阿斯的亲密朋友是“fidus Achates”；《指环王》中的佛罗多有“忠实的山姆·甘吉” 2（这种关系在完全不同类型的故事中的另一个例子是哈姆雷特和他的“忠实的霍雷肖”）。
Secondly, the hero may have an alter-ego who has no real distinguishing mark except his fidelity. Christian, for instance, has Faithful; Aeneas’s close friend is ‘fidus Achates’; Frodo in The Lord of The Rings has the ‘faithful Sam Gamgee’2 (another instance of this relationship in a quite different type of story is Hamlet’s with his ‘faithful Horatio’).
第三，英雄可能有一种更微妙的另一个自我，其作用是充当陪衬，表现出与英雄所表现出的品质相反的品质。例如，在犹太人出走的故事中，摩西就这样受到他的兄弟亚伦的影响。每当摩西特别忠实于他带领犹太人进入应许之地的使命时（例如当他在西奈山上接受十诫时），亚伦就可能体现出不忠和不忠（例如煽动犹太人敬拜）金牛犊）。当吉尔伽美什史诗中的英雄他带着他的朋友恩奇杜出发去杀死巨人洪巴巴；每当吉尔伽美什表达勇气和自信时，恩基杜就会表达相反的情绪：恐惧和怀疑。同样，每当英雄处于消极模式时，另一个自我的角色就可能是积极的：就像当克里斯蒂安在怀疑城堡的地牢里被自杀的绝望所克服时，必须得到忠实的继任者作为他的同伴希望的安慰时。这种主要同伴体现了英雄所缺少的补偿性品质（尽管通常以一种“劣等”或未充分发展的方式）的关系在故事中非常重要，我们还会遇到许多其他例子：堂吉诃德和桑丘潘扎、《李尔与愚人》、《唐璜与莱波雷洛》、《伍斯特与吉夫斯》等等。
Thirdly, the hero may have a subtler type of alter-ego whose role is to serve as a foil, displaying qualities the opposite of those shown by the hero. In the story of the Jewish exodus, for instance, Moses is shadowed in this way by his brother Aaron. Whenever Moses is being particularly faithful to his commission to lead the Jews into the Promised Land (as when he is up on Mount Sinai, receiving the ten commandments), Aaron is likely to be embodying infidelity and disloyalty (as in inciting the Jews to worship the Golden Calf). When the hero in the Epic of Gilgamesh sets out to slay the giant Humbaba, he takes with him his friend Enkidu; whenever Gilgamesh expresses courage and confidence, it is Enkidu who expresses the opposite emotions, fear and doubt. Equally, whenever the hero is in negative mode, it may be the alter-ego’s role to be positive: as when Christian is overcome with suicidal despair in the dungeons of Doubting Castle, and has to be reassured by Faithful’s successor as his companion, Hopeful. This kind of relationship where the chief companion embodies compensatory qualities missing in the hero (though often in an ‘inferior’ or not fully-developed way) is of enormous importance in stories, and we shall come across many other examples: Don Quixote and Sancho Panza, Lear and the Fool, Don Giovanni and Leporello, Wooster and Jeeves, to name but a few.
第四，在任务英雄和他的同伴之间关系的最完全差异化的形式中，后者各自被赋予了独特的特征，这些特征相辅相成，并构成一个“整体”。例如，在《Watership Down》中，兔子的英雄和领导者是黑兹尔。但他在很大程度上依赖于 Bigwig 的体力、Blackberry 的理性规划能力以及 Fiver 的直觉能力；如果没有他们各自的贡献，探索就不可能成功。在前往所罗门王矿井进行探索的团队中可以看到惊人相似的平衡。他们的领袖和故事的英雄是艾伦·夸特曼（Allan Quatermain）：他的同伴是“公牛般”的亨利·柯蒂斯爵士（Sir Henry Curtis），代表体力；完美无瑕的古德船长代表理性计算（是他通过航海年鉴预测日食拯救了所有人）；而直觉原则则由他们神秘而高贵的祖鲁同伴翁波帕（Umbopa）代表，他似乎对他们所追求的目标有着比他表现出来的更多的隐藏知识，原因最终会浮出水面。
Fourthly, in the most fully-differentiated form of the relationship between the Quest hero and his companions, the latter are each given distinct characteristics which complement each other, and add up to a ‘whole’. In Watership Down, for instance, the hero and leader of the rabbits is Hazel. But he relies heavily on the physical strength of Bigwig, the rational planning capacities of Blackberry and the intuitive powers of Fiver; and without all their separate contributions combined, the Quest could not succeed. A strikingly similar balance can be seen in the group who set out on the Quest in King Solomon’s Mines. Their leader and the story’s hero is Allan Quatermain: his companions are the ‘bull-like’ Sir Henry Curtis, representing physical strength; the immaculate Captain Good, who represents rational calculation (it is he who saves them all by predicting a solar eclipse from his nautical almanac); while the intuitive principle is represented by their mysterious, regal Zulu companion, Umbopa, who seems to have more hidden knowledge of the goal they are heading for than he lets on, for reasons which eventually emerge.
旅程
The journey
任务中旅程的基本模式始终是相同的。英雄和他的同伴们经历了一系列可怕的、常常近乎致命的磨难，随后当他们恢复体力时，他们会得到一段喘息的时间，并接受友好帮助者的帮助和指导，送他们上路。换句话说，在故事开始时最初的压抑感之后，我们现在体验到旅程本身是一系列交替的阶段，先是威胁生命的收缩，然后是给予生命的释放。现在我们将依次考虑每一个问题：首先，考验的性质；然后是英雄的盟友，他们拯救了他并帮助他实现了目标。
The essential pattern of the journey in a Quest is always the same. The hero and his companions go through a succession of terrible, often near-fatal ordeals, followed by periods of respite when they recoup their strength, receiving succour and guidance from friendly helpers to send them on their way. In other words, after the initial feeling of constriction which dominates the start of the story, we now experience the journey itself as a series of alternating phases of life-threatening constriction followed by life-giving release. We shall now consider each in turn: first, the nature of the ordeals; then that of the hero’s allies, who rescue him and help him towards his goal.
英雄和他的同伴面临的第一个问题是他们大部分旅程必须穿越的地形的性质。它的本质在于它是狂野的、陌生的和不友好的：沙漠或荒野（犹太人，艾伦·夸特曼）；一片森林（例如，“废弃森林”，“其深处广阔而迷宫般的地方”，圣杯寻求者的大部分冒险都在其中）；沼泽地或山区乡村（克里斯蒂安、佛罗多）；充满动物和人类危险的乡村（沃特希普镇）；或狂野而危险的大海（奥德修斯、阿尔戈英雄、埃涅阿斯、金银岛）。
The first problem facing the hero and his companions is the nature of the terrain across which they have to make most of their journey. Its essence is that it is wild, alien and unfriendly: a desert or wilderness (the Jews, Allan Quatermain); a forest (e.g., ‘the Waste Forest’, ‘vast and labyrinthine in its depths’, in which the Grail-seekers have most of their adventures); moorland or mountainous countryside (Christian, Frodo); a countryside full of dangers from animals and men (Watership Down); or the wild and treacherous sea (Odysseus, the Argonauts, Aeneas, Treasure Island).
因此，他们遇到的一些危险仅仅是敌对地形本身的危险。奥德修斯和埃涅阿斯在海上遇到了巨大的风暴。犹太人和艾伦·夸特曼因缺乏食物和水而面临可怕的考验，但由于甘露的掉落或水坑的发现，他们奇迹般地从“惊险的死亡逃脱”中得救。克里斯蒂安一离开他的“毁灭之城”，就差点被吸进绝望沼泽而死。
Some of the perils they encounter therefore are simply those of the hostile terrain itself. Odysseus and Aeneas are caught in great storms at sea. The Jews and Allan Quatermain face terrible ordeals through lack of food and water, from which they are miraculously saved, in ‘thrilling escapes from death’, by the fall of manna or the discovery of a waterhole. No sooner has Christian left his ‘City of Destruction’ than he is almost sucked down to his death in the Slough of Despond.
但英雄和他的目标之间存在着比这些更具体的障碍，这些障碍分为四大类。
But rather more specific obstacles than these stand between the hero and his goal, and these fall into four general categories.
1. 怪物
1. Monsters
首先，英雄和他的同伴很可能会遇到“怪物”。例如，《奥德赛》中的一集，其中奥德修斯和他的部下被困在食人、独眼巨人波吕斐摩斯的洞穴中，最后通过弄瞎独眼巨人的眼睛并隐藏在他的羊下而“惊心动魄地逃脱” ，可以单独阅读，就像《战胜怪物》情节的缩小版一样。但是，不可避免的是，因为这些情节在整个故事中只扮演次要角色，所以它们通常不能被详细讲述，而且常常被更粗略地忽略。
Firstly the hero and his companions are likely to encounter ‘monsters’. The episode in the Odyssey, for instance, in which Odysseus and his men are trapped in the cave of the man-eating, one-eyed giant Polyphemus, and finally make their ‘thrilling escape’ by blinding the Cyclops and concealing themselves under his sheep, may be read in isolation just like a miniature version of the Overcoming the Monster plot. But, inevitably, because such episodes are here playing only a subsidiary role in the whole story, they cannot usually be told at great length, and are often passed over much more sketchily.
埃涅阿斯和他的部下与鹰身女妖进行了一场可怕的战斗，鹰身女妖是令人厌恶的半女人半鸟的野兽。阿尔戈英雄们也遇到了鹰身女妖，他们决定在其他地方，由六手巨人组成的种族，在巴比科斯岛上，其中一个必须与可怕的阿米库斯国王进行单挑，他之前曾挑战并杀死了所有路人。艾伦·夸特曼和他的朋友们刚刚出发，就必须杀死一头巨大而致命的公象。克里斯蒂安遇到了像龙一样的魔王和绝望巨人。犹太人首先受到追击的埃及军队的威胁，然后又受到巨人“阿纳克之子”的威胁。佛罗多和他的同伴们面临着一系列可怕对手的死亡威胁，从神秘的“黑骑士”到可怕的巨型蜘蛛尸罗。而圣杯寻求者们则多次在森林中与神秘的“黑骑士”进行激烈的战斗，而“黑骑士”通常会俘虏一些美丽的少女。
Aeneas and his men have a fearsome battle with the Harpies, loathsome beasts, half-woman, half-bird. The Argonauts also encounter the Harpies, are set on elsewhere by a race of six-handed giants and, on the island of Babycos, one of them has to face in single-combat the dreaded King Amycus, who has previously challenged and killed every passer-by. Allan Quatermain and his friends have scarcely set out than they have to kill an enormous, deadly bull-elephant. Christian has his encounters with the dragon-like Apollyon and the Giant Despair. The Jews are threatened first by the pursuing armies of the Egyptians, then by the giant ‘sons of Anak’. Frodo and his companions are threatened with death by a whole range of monstrous opponents, from the mysterious ‘Black Riders’ to the fearsome giant spider Shelob. While the Grail-seekers have on various occasions to fight tremendous battles in the forest with mysterious ‘Black Knights’, who are usually holding captive some beautiful maiden.
2. 诱惑
2. Temptations
任务英雄必须面对的第二个具体危险更具欺骗性和危险性：“诱惑”。这通常但并非总是涉及一些美丽迷人的女人。诱惑的本质在于它提供了某种物质满足的希望。它可能会引起性兴奋。它可能提供丰富的食物和令人陶醉的葡萄酒。它可能只是为英雄提供一段轻松愉快的时光，与他所承担的任务的艰巨性和严峻性形成鲜明对比。事实上，屈服于诱惑可能与对抗怪物一样致命。但英雄所面临的危险往往只是他会被诱惑和麻痹而忘记他所承担的伟大任务，并在某种迷惑的咒语下放弃他的任务。
The second specific peril the Quest hero has to face is rather more deceptive and treacherous: the ‘Temptation’. This often, but not always, involves some beautiful and captivating woman. The essence of the Temptation is that it holds out the promise of some physical gratification. It may be sexually arousing. It may offer rich food and intoxicating wines. It may just offer the hero a time of ease and pleasure, in contrast to the hard and austere nature of the task he has been set. In fact to surrender to a Temptation may be as unambiguously deadly as confrontation with a Monster. But often the danger the hero runs is simply that he will be seduced and lulled into forgetting the great task he has undertaken, and will abandon his Quest under some beguiling spell. The most complete picture of the various forms the Temptation may take is given in the Odyssey:
(1) 美丽但致命的塞壬，就像德国传说中的罗蕾莱一样，用迷人的歌声引诱水手走向灭亡。他们唯一的目的就是杀人。
(1) the beautiful but deadly Sirens who, like the Lorelei of German legend, lure sailors to their doom by their bewitching songs. Their only aim is to kill.
(2) 美丽的女巫喀耳刻，她用魔法将所有来到她岛上的游客囚禁起来，将他们变成动物（象征着他们屈服于“动物”欲望的方式）。但她并没有杀死他们。
(2) the beautiful enchantress Circe, who imprisons all visitors to her island by turning them magically into animals (symbolising the way they have surrendered to their ‘animal’ appetites). But she does not kill them.
(3) 卡吕普索，另一位美丽的女巫，她爱上了奥德修斯，并深深地迷住了他，使他在她的洞穴里待了七年。但是，尽管他焦躁不安，但他还是自愿留下来。
(3) Calypso, another beautiful enchantress, who falls in love with Odysseus and so captivates him that he stays seven years in her cave. But, although restive, he stays voluntarily.
(4) 食莲者之地的简单、令人衰弱的迷恋，在轻松自我放纵的氛围中削弱所有人的意志。这困住了奥德修斯的许多人，直到他们被强行拖回船上。
(4) the simple, enervating captivation of the Land of the Lotus Eaters, which saps all will in an atmosphere of relaxed self-indulgence. This traps many of Odysseus’s men until they are forcibly dragged back to their ships.
对于埃涅阿斯来说，主要的诱惑是卡里普索类型的：他与迦太基寡妇狄多的爱情故事，当众神的使者墨丘利被朱庇特派去询问英雄“什么”时，这段爱情戛然而止。你能在非洲土地上过着浪费闲暇的生活吗？”，并命令他重新开始他的探索。当犹太人被引诱“与摩押的女儿们行淫”时，同样的诱惑也落入了他们的圈套；当阿尔戈英雄到达利姆诺斯岛时，他们发现妇女们已经杀死了所有的男人，并热衷于寻找新的情人。这次，赫拉克勒斯手持棍棒，愤怒地在岛上大步走来，严厉地召回伊阿宋的部下履行职责。
For Aeneas, the chief temptation is of the Calypso type: his love affair with Dido, the widowed queen of Carthage, which is brought to an abrupt end when the messenger of the gods, Mercury, is sent by Jupiter to ask the hero ‘what can you possibly gain by living at wasteful leisure in African lands?’, and to order him peremptorily back on his quest. Much the same temptation ensnares the Jews when they are lured into committing ‘whoredom with the daughters of Moab’, and the Argonauts when they arrive on the island of Lemnos to find that the women have killed all their menfolk and are avid for new lovers. It is Heracles who on this occasion strides angrily round the island with his club, sternly recalling Jason’s men to their duty.
为了沃特希普镇的兔子，主要的诱惑原来是食莲者之地和致命的塞壬之间的交叉（诱惑的四个方面或等级实际上比乍一看更加紧密地联系在一起）。他们在一个陌生的聚集地受到欢迎，乍一看，这里似乎是他们理想的住宿地点，有充足的食物、宽敞的空间，而且没有明显的危险。但渐渐地（通过直觉的菲弗），他们感觉到新窝里光滑、营养丰富但胆怯的兔子过着安逸的生活，有些怪异和险恶。他们惊恐地发现，这实际上是一种豪华的奴隶营，由当地农民保留作为食物来源：如果他们留在那里，他们肯定会死。对于基督徒和忠诚者来说，名利场之城提供了“这个世界上所有的乐趣”，
For the rabbits of Watership Down, the chief temptation turns out to be a cross between the Land of the Lotus Eaters and the deadly Sirens (the four aspects, or gradations of the Temptation are in fact more closely linked than might at first appear). They are made welcome at a strange warren which at first sight seems an ideal place for them to stay, with plenty of food, ample room and no apparent danger. But gradually (through the intuitive Fiver) they sense that there is something eerie and sinister about the life of ease lived by the sleek, well-fed but cowed rabbits in the new warren. They discover, to their horror, that it is in fact a kind of luxurious slave-camp, kept by the local farmer as a source of food: and that if they stay there they are sure to die. For Christian and Faithful, the town of Vanity Fair, offering ‘all the delights of this world’, proves to be much the same kind of deadly snare, in which Faithful loses his life, and from which Christian only narrowly escapes to continue the journey alone.
对于宣誓贞洁的圣杯骑士来说，诱惑绝对是海妖式的。当珀西瓦尔爵士失去他的马时，他在森林里遇到了“一个胆怯的少女”，她给了他另一匹“又大又黑的马”，这让他无法控制地离开了“三天或更长时间”。珀西瓦尔来到一条被火烧着的黑色河流前，在身上画了一个十字，马把他扔了下去。他醒来时发现自己被困在海中央的一个悬崖峭壁上，没有食物。在炎热的天气里，一艘漂亮的船靠近了，坐在船里的遮阳篷下的是他见过的最美丽的女人。她在岸边搭起一个阴凉的帐篷，邀请珀西瓦尔享用一顿精致的晚餐，配上他喝过的最烈性的葡萄酒：然后恳求他与她做爱，说：“你对占有我的渴望还不如我的一半”想要你，因为你是我最热衷于拥有的骑士之一”（正如我们已经看到的，詹姆斯·邦德的世界并没有什么新鲜事）。当他们正要一起爬上一张大床时，珀西瓦尔看到了他剑柄上的十字架；他在胸前画了十字，帐篷消失在一股恶臭的烟雾中，船以不自然的速度驶过海洋，留下一道道火痕，从暴风雨翻腾的海浪中升起。
For the knights of the Grail, sworn to chastity, temptation is firmly of the Siren-type. When Sir Percival loses his horse, he meets ‘a timid maiden’ in the forest, who offers him another ‘huge and black’, which carries him off uncontrollably for ‘three days or more’. Coming to a black river, burning with fire, Percival crosses himself, whereupon the horse throws him: and he wakes up trapped, foodless, on a precipitous island in the middle of the sea. In the heat of the day a handsome ship approaches, and sitting in it, under an awning, is the most beautiful woman he has ever seen. She erects a shady tent on the shore and invites Percival to an exquisite meal, with the most potent wine he has ever drunk: and then implores him to make love to her, saying ‘you have not hungered to possess me half as much as I have wanted you, for you are one of the knights I was most passionately set on having’ (as we have already seen, there is little new about the world of James Bond). As they are about to climb together into a great bed, Percival catches sight of the cross on his sword-hilt; he crosses himself, the tent vanishes in a puff of foul-smelling smoke, and the ship hurtles away at unnatural speed across the ocean, leaving a wake of fire rising from storm-tossed waves.
当然，诱惑与怪物有很多共同点，只不过后者通过直接对抗来威胁英雄，而前者则试图通过诡计和诱惑来引诱英雄走向灭亡。塞壬只是另一种形式的掠食者。而那些试图用咒语或爱情艺术囚禁旅行者的女巫则是坚守者的另一个版本。然而，如果她们以某种方式被控制或推翻，这些妖妇可能会完全改变她们的本性，或者更确切地说她们与英雄的关系。他们可以从恶意、破坏性和障碍变成最仁慈的盟友。当赫耳墨斯给奥德修斯一种神奇的药草，使他能够抵抗喀耳刻的咒语时，他可以说服她将所有受害者从魔咒中释放出来。尽管他留在她身边，在又一年的宴会和性爱中，她最终释放了他，并为他的旅程提供了各种帮助和重要指导。同样，卡里普索在众神的要求下，送他上路，带着各种装备和好的建议。事实上，诱惑者已经转变为英雄在旅途中遇到的另一种至关重要的人物，即“帮助者”，我们很快就会看到他。
Of course the Temptation has much in common with the Monster, except that the latter threatens the hero by direct confrontation, while the former seeks to lure him to his doom by guile and seduction. The Sirens are only Predators in another guise. While the enchantresses who seek to imprison travellers by their spells, or the arts of love, are another version of Holdfast. Nevertheless, if they are mastered or overruled in some way, these Temptresses may completely change their nature, or rather their relationship to the hero. From being malign, destructive and a hindrance, they can become the most benign of allies. When Odysseus is given the magic herb by Hermes which enables him to withstand Circe’s spells, he can persuade her to release all her victims from their enchantment. And though he stays with her, feasting and making love for another year, she in the end releases him with all sorts of aid and vital guidance for his journey. Similarly Calypso, at the behest of the gods, sends him on his way with every kind of equipment and good advice. The Temptresses have in fact been transformed into that other kind of crucially important figure the hero meets on his journey, the ‘helper’, whom we shall be looking at shortly.
3.致命的对立面
3. The deadly opposites
第三种常见的考验是英雄和他的同伴需要在两个巨大的对立危险之间行走一条精确而危险的道路。对于阿尔戈英雄来说，这些是强大的“碰撞岩石”，即 Symplegades，他们必须在正确的时刻在这些岩石之间航行，以避免被压死。对于奥德修斯来说，“致命的对立面”是大漩涡卡律布狄斯和六头怪物斯库拉，它们分别站在狭窄海湾的两侧。为了避免第一次，奥德修斯把他的船开得离斯库拉太近，斯库拉抓住了他的六名士兵；后来他独自返回，这一次从卡律布狄斯那里“惊心动魄地逃脱”。对于克里斯蒂安来说，他必须走的“又直又窄的路”在很多场合都被这样强调，比如当他必须从两只凶猛的狮子之间穿过时，或者沿着一条精致的小路穿过死亡之影谷，避开一侧的深沟和另一侧的危险沼泽。圣杯任务中的兰斯洛特也必须从两只狮子之间经过。对于犹太人来说，“对立面”之间的旅程代表着红海像一堵巨大的“墙，在他们的右手和左手边卷过来”，为他们留下一条干燥的通道，让他们安全地渡过。 ; 而当法罗亚的军队追击他们时，“对立者”再次冲到一起，展现出致命的本性，就像辛普莱加德斯一样，吞没了“战车、骑兵和全军”。对于艾伦·夸特曼和他的小队来说，没有比这更危险的时刻了，他们没有食物，几乎冻死，必须穿过两座对称的大山之间狭窄的、白雪皑皑的山口，
A third familar type of ordeal is the need for the hero and his companions to travel an exact and perilous path between two great opposing dangers. For the Argonauts these are the mighty ‘clashing rocks’, the Symplegades, between which they have to sail at exactly the right moment to avoid being crushed to death. For Odysseus the ‘deadly opposites’ are the great whirlpool Charybdis and the six-headed monster, the Scylla, which stand on each side of a narrow gulf. To avoid the first Odysseus steers his ship too near Scylla, who seizes six of his men; later he returns on his own and this time has a ‘thrilling escape’ from Charybdis. For Christian, the ‘straight and narrow way’ he has to follow is emphasised like this on several occasions, as when he has to pass between two fierce lions, or tread a delicate path through the Valley of the Shadow of Death, avoiding a deep ditch on one side and a treacherous bog on the other. Lancelot, in the Grail Quest, also has to pass between two lions. For the Jews, the journey between the ‘opposites’ is represented by the occasion when the Red Sea rolls back like a great ‘wall unto them, on their right hand and on their left’, leaving a dry passage for them to cross over safely; while, when the armies of Phaoroah pursue them, the ‘opposites’ show their deadly nature by rushing together again, like the Symplegades, engulfing ‘the chariots and the horsemen and all the host’. And there is no moment more hazardous for Allan Quatermain and his little party as that when, foodless and almost freezing to death, they have to cross the narrow, snowy pass exactly between two great symmetrical mountains, the Breasts of Sheba, which is the only way through from the desert to the lost land of Solomon which is their goal.
4. 地狱之旅
4. The journey to the underworld
任务英雄在到达目标之前可能必须经历的最后一种完全不同的考验是访问死者灵魂居住的地下世界。在某些情况下，这简直就是一次可怕的经历，对于克里斯蒂安来说，他穿过死亡阴影之谷时就是这样：
A final, rather different kind of ordeal which the Quest hero may have to undergo before arriving at his goal is a visit to the underworld, inhabited by the spirits of the dead. In some cases, this is simply a horrific experience, as for Christian on his passage through the Valley of the Shadow of Death:
“我们在那里看到了大妖精、森林之神和深渊之龙；我们还在那个山谷里听到了持续不断的嚎叫和叫喊，就像人们在难以言喻的痛苦中一样……死亡总是在它上面张开翅膀……可怕的……完全没有秩序。
‘we saw there hobgoblins, satyrs and dragons of the pit; we heard also in that valley a continual howling and yelling, as of people under unutterable misery... Death does always spread his wings over it ... dreadful ... utterly without order.’
然而，在其他情况下，穿越地下世界的旅程不仅仅是一场痛苦的考验：它还有更深层次的目的，使英雄能够思考前人的命运，并就对他的未来至关重要的问题咨询他们。当奥德修斯在喀耳刻的指引下到达位于世界边缘的恐惧之河和永雾之城之外的阴间之门时，他遇到了死去已久的预言家泰瑞西亚斯，泰瑞西亚斯给了他建议，使他能够使他在所有手下中独一无二地实现他的目标；为英雄准确预测他余下的旅程和他的生活将如何展开。当埃涅阿斯最终抵达意大利海岸时，他的首要任务（正如他死去的父亲安喀塞斯的幽灵幻象所建议的那样）是拜访女祭司库迈亚西比尔。
In other instances, however, the journey through the underworld is not just a harrowing ordeal: it serves a deeper purpose, enabling the hero to contemplate the fate of those who have lived before, and also to consult them on matters vital to his future. When Odysseus is guided by Circe to the gate of the netherworld which lies beyond the River of Fear and the City of Perpetual Mist, on the very edge of the world, he meets the long-dead seer Teiresias, who gives him the advice which will enable him, alone of all his men, to reach his goal; predicting for the hero exactly how the rest of his journey and his life will unfold. When Aeneas finally arrives on the shores of Italy, his first duty (as he has been advised by a ghostly vision of his dead father Anchises) is to pay a visit to the maiden-priestess, the Cumaean Sibyl. Beside an echoing cavern in the mountainside, the Sibyl summons up the god of the oracle within:
“突然……她的头发散乱了……她的心狂野而悲伤，她显得更高了，说话的语气也不像凡人。”
‘suddenly ... her hair fell in disarray... her bursting heart was wild and sad, She appeared taller and spoke in no mortal tones.’
女先知给了他关于如何下降到地狱的仔细指示（埃涅阿斯首先必须在两只鸽子的帮助下寻找“无尽的森林”，寻找“金树枝”，它被保护在森林的黑暗中通过一个小圆圈）。他们最终降临，目睹了各种怪物和恐怖，以及遭受永恒惩罚的诅咒的阴影。最后，他们来到了欢乐之地和幸运森林，在那里他们找到了睿智的老安喀塞斯，他像泰瑞西亚斯一样，向埃涅阿斯揭示了他仍然必须面对的磨难的本质、他未来的生活以及他的后代的辉煌前景。新城罗马已经建立。有了这些建议和他最终成功的保证，埃涅阿斯终于为他的探索的最后阶段做好了准备。3
The prophetess gives him careful instructions as to how he can descend into the underworld (Aeneas first has to search ‘the endless forest’, with the aid of two doves, for the ‘golden bough’, which is protected in the dark of the forest by a little circle of light). They eventually make their their descent, witnessing every kind of monster and horror, and the shades of the damned enduring eternal punishment. Finally they come to the Land of Joy and the Fortunate Woods, where they find the wise old Anchises who, like Teiresias, reveals to Aeneas the nature of the ordeals he still has to face, his future life and the glorious prospects for his descendants when the new city of Rome has been founded. With this advice and guarantee of his eventual success, Aeneas is at last ready for the final stages of his Quest.3
帮手们
The helpers
除了英雄和他的同伴在旅途中遇到的所有负面人物外，正如我们所看到的，他们还遇到了一些非常不同的人物：给予他们积极帮助的“帮助者”，从休息时间到关键指导。在这两个非常重要的人物中占主导地位，他们以无数的面目出现，不仅在探索故事中，而且在整个文学中。
In addition to all the negative figures the hero and his companions meet on the journey, they also, as we have seen, encounter some very different figures: the ‘helpers’ who give them positive assistance, ranging from periods of respite to crucial guidance. And among these two very important figures predominate, who are to be met with in countless guises, not just in Quest stories but throughout literature.
我们已经开始一方面在古代看见者泰瑞西阿斯和安喀塞斯的角色中遇见他们，另一方面在西比拉女祭司的角色中遇见他们。这些人物是一位仁慈、通常是睿智的老人，和一位美丽的年轻（尽管常常神秘地不老）女人。
We have already begun to meet them in the characters of the old seers Teiresias and Anchises on the one hand, and that of the Sibylline priestess on the other. These are the figures of a benevolent, usually wise old man, and a beautiful young (though often mysteriously ageless) woman.
在最基本的层面上，老人和年轻女子可能只是提供款待、休息、食物、护理和其他物质帮助，就像奥德修斯在被清洗时从仁慈的国王阿尔西诺斯和他的女儿娜乌西卡公主那里得到的那样遭遇海难后，他们在岛上精疲力尽。当艾伦·夸特曼和他的朋友们到达所罗门失落的土地时，类似的一对似乎帮助了他们：老人因法杜（Infadoo）警告他们有许多危险，而美丽的福拉塔（Foulata）。
At the most basic level, the old man and the young woman may simply provide hospitality, rest, food, nursing care and other material assistance, as Odysseus receives from the kindly King Alcinous and his daughter, the Princess Nausicaa, when he is washed up exhausted on their island, after being shipwrecked. A similar pair appear to help Allan Quatermain and his friends when they arrive in the lost land of Solomon: the old man Infadoo who warns them of many dangers, and the beautiful Foulata.
事实上，“老人”和“年轻女子”对英雄来说越接近被赋予超自然力量的意义就越大。他们的作用与其说是干预行动，不如说是利用超自然的智慧和先见之明，充当向导和顾问。也许最好的例子是这样的一对文学导师，就是《神曲》中带领但丁踏上天堂之旅的可敬圣人维吉尔和美丽的贝阿特丽斯。
In fact the ‘old man’ and the ‘young woman’ are of ever greater significance to the hero the nearer they come to being invested with supernatural powers. Their role is not so much to intervene in the action as to act as guides and advisers, drawing on supernatural wisdom and prescience. Perhaps the supreme example of such a pair of guides in literature are the venerable sage Virgil and beautiful Beatrice who lead Dante on his journey up to Paradise in the Divine Comedy.
在我们在这里讨论的故事中，“智慧老人”的最高典范一定是神秘人物，他自始至终引导犹太人踏上通往应许之地的危险旅程，即“亘古常在者”，即耶和华本人。他不仅在故事的关键时刻出现在摩西面前斥责、建议和警告他，而且还向犹太人提供了许多“迹象”，表明他们走在正确的道路上，例如神奇的“火柱”他们穿过无路可走的荒野。毫不偶然的是，在艺术家或电影制片人为将这个人物拟人化而做出的所有尝试中（例如在展示西奈山上将石版交给摩西的绘画中），他总是被描绘成一个极其父权制的人。 ，留着胡子，聪明的老人。
In the stories we are considering here, the supreme example of a ‘wise old man’ must be the mysterious figure who from start to finish guides the Jews on their hazardous journey to the promised land, the ‘Ancient of Days’, Jahweh himself. Not only does he appear to Moses at crucial moments of the story to reprimand, advise and warn him, but he gives many ‘signs’ to the Jews that they are on the right path, such as the miraculous ‘pillar of fire’ which leads them on through the trackless wilderness. It is no accident that in all attempts which have ever been made by artists or film-makers to personify this figure (as in paintings showing the handing down of the tablets of stone to Moses on Sinai), he is always represented as an immensely patriarchal, bearded, wise old man.
年轻但不老的女性形象的杰出例子是协助奥德修斯的她，她是“目光闪烁的智慧女神”雅典娜，“高大、美丽、多才多艺”。她守护并引导她的门徒度过每一次危险，并在众神的建议下为自己的事业而战，对抗英雄的主要对手，复仇的波塞冬（爱神维纳斯为埃涅阿斯扮演了类似的角色，但不那么亲密） ）。
The outstanding example of a young but ageless feminine figure is she who assists Odysseus, the ‘flashing-eyed goddess of wisdom’ Athene, ‘tall, beautiful and accomplished’; who watches over and guides her protégé through every peril, and fights for his cause in the counsels of the gods against the hero’s chief oppponent, the vengeful Poseidon (a similar, through less intimate role is played for Aeneas by Venus, the goddess of love).
在《寻找圣杯》中，“智者老人”的角色由一系列隐士和圣人扮演，他们的主要作用是向英雄们解释他们刚刚经历的巨大考验和磨难的意义，以及为未来发出警告。同样，在故事的不同时刻，美德无瑕的神秘年轻女性似乎在为英雄们指引道路——尤其重要的是，这位美丽的少女最终出现，召唤了三位至高无上的英雄加拉哈德、珀西瓦尔和博尔斯上船。这将带他们飞越大海，开始任务的最后阶段。
In the Quest for the Grail, the part of the ‘wise old man’ is played by the succession of hermits and holy men, whose chief role is to interpret to the heroes the meaning of the great tests and ordeals they have just undergone, and to give warnings for the future. Similarly, at various points in the story, mysterious young women of unblemished virtue appear to guide the heroes on their way – particularly important being the beautiful maiden who at last appears to summon the three supreme heroes, Galahad, Percival and Bors, onto the ship which will take them over the sea to begin the closing stages of the Quest.
在《天路历程》中，严肃的“智慧老人”传道者和三位天使“光辉者”给予基督徒超自然的指引。居住在美丽宫殿中的三位“严肃而美丽的少女”也给了他更多世俗的帮助和款待：正是她们最终向克里斯蒂安指出了地平线上的愉悦山脉，这是通往他神秘目标的最后门户。 。
In Pilgrim’s Progress, Christian is given supernatural guidance along his path by the grave ‘wise old man’ Evangelist, and by the three angelic ‘Shining Ones’. He is also given more mundane assistance and hospitality by the three ‘grave and beautiful damsels’ who live in the Palace Beautiful: and it is they at last who point out to Christian on the horizon the Delectable Mountains, the final gateway to his mysterious goal.
在现代故事讲述中，没有比《指环王》中在引导弗罗多完成伟大任务中发挥关键作用的两个原型人物更令人难忘的了，他们是全知老巫师甘道夫和他的盟友，美丽的魔法师甘道夫。 ，空灵、有远见的女王凯兰崔尔。4
In modern storytelling there is no more memorable an example of these archetypal figures than the two who play such a crucial role in guiding Frodo on his mighty Quest in The Lord of the Rings, the all-seeing old wizard Gandalf and his ally, the beautiful, ethereal, visionary queen Galadriel.4
最后的考验
The final ordeals
最后，我们的探索故事中的英雄们来到了伟大目标的边缘，他们经历了如此多的危险和磨难，为这个目标走了很长时间。奥德修斯终于到达了他的伊萨卡岛。埃涅阿斯到达了他要去的意大利让他的新家。杰森抵达金羊毛的故乡科尔基斯。经过四十年的旷野生活，犹太人终于渡过约旦河，到达“应许之地”。兔子们到达了沃特希普镇，他们认为这里是定居和建立新家的完美地点。
At last the heroes of our Quest stories come to the edge of the great goal towards which, through so many perils and ordeals, they have been journeying so long. Odysseus at last reaches his island of Ithaca. Aeneas reaches Italy where he is to make his new home. Jason arrives in Colchis, home of the Golden Fleece. After forty years in the wilderness, the Jews at last cross over the river Jordan and arrive in ‘the promised land’. The rabbits reach Watership Down, which they decide is the perfect place to settle and to make their new home.
我们现在发现了任务情节中最令人惊讶的事情之一。大多数人，如果谈论“探索”，会说“哦，是的，一个关于旅程的故事”（“探索”这个词来自拉丁语 quaere，毕竟意味着“寻找”）事实上，任务中的旅程只占了故事的一半。
We now discover one of the most surprising things about the Quest plot. Most people, if one talks about a ‘quest’, will say ‘Oh yes, a story about a journey’ (the very word ‘quest’, from the Latin quaere, to seek, after all means ‘a search’) But in fact the journey in a Quest only makes up half the story.
奥德修斯花了十二本《奥德赛》回到伊萨卡：但在故事最终结束之前，还有十二本书要走。埃涅阿斯通过《埃涅阿斯纪》的第六卷到达了意大利：但这首诗总共有十二卷。当犹太人到达“流着牛奶和蜂蜜”的应许之地，或者兔子到达沃特希普镇时，故事还有很大一部分有待展开。在我们看过的几乎所有任务中（以及许多其他任务），旅程结果只是故事的第一部分。第二部分开始于英雄实际上已经可以看到他的目标的时候，他必须面对最后的巨大考验，或者一系列的考验，这可能需要像之前发生的一切一样长的时间来描述。正是这最后的斗争对于英雄来说是必要的，以抓住他的战利品并确保它。
It has taken Odysseus twelve books of the Odyssey to get back to Ithaca: but there are still twelve books to go before the story is finally over. Aeneas has reached Italy by the sixth book of the Aeneid: but the poem has twelve books in all. When the Jews reached their promised land ‘flowing with milk and honey’, or the rabbits reach Watership Down, there is still a huge part of the story left to unfold. In almost all the quests we have been looking at (and in many others), the journey turns out to have been only the first part of the tale. The second part, which begins when the hero is actually within sight of his goal, sees him having to face a final great ordeal, or series of ordeals, which may take as long to describe as everything which has gone before. It is this final struggle which is necessary for the hero to lay hold of his prize and to secure it.
奥德赛的整个后半段例如，描述了当奥德修斯隐姓埋名回到他的岛屿时，他发现他的王国几乎完全混乱，被求婚者大军的傲慢、贪婪和放荡所笼罩。我们看到他穿越岛屿到达他的宫殿，伪装成乞丐，被追求者视为污垢。他的王后佩内洛普最终对再见到他感到绝望，并下令她将嫁给任何能弯曲奥德修斯强大的弓，并射穿一排斧头的箭的人。追求者们都尝试过，但都惨遭失败。最后，奥德修斯显露出了他的王者威严（以一种我们在故事中以前从未见过的方式）。他抓住了弓，轻松通过了考验（“只有真正的英雄才能通过的考验”），然后他和他的儿子忒勒马科斯转而攻击求婚者并屠杀他们。
The entire second half of the Odyssey, for instance, describes what follows when Odysseus arrives incognito back on his island, to find his kingdom in near-total disarray, overshadowed by the arrogance, greed and dissipation of the infesting army of suitors. We see him travel across the island to arrive at his palace, disguised as a beggar, treated by the suitors like dirt. His queen Penelope has finally despaired of ever seeing him again, and decreed that she will marry anyone who can bend Odysseus’s mighty bow, and shoot an arrow through a row of axe-heads. The suitors all try and fail miserably. Finally Odysseus reveals himself in all his kingly majesty (in a way we have not seen at any time before in the story). He seizes the bow, passes the test with ease (‘the test which only the true hero can pass’), and he and his son Telemachus then turn on the suitors and massacre them. Thus is he finally reunited with his loving Penelope, and thus does he triumphantly reclaim his kingdom.
埃涅阿斯从《埃涅阿斯纪》中的地下世界访问回来后，特洛伊人就意识到他们实际上终于到达了台伯河河口，众神希望他们定居的地方。起初，一切似乎都为故事的快速而幸福的结局做好了准备。他们受到了当地国王拉丁尼乌斯的热烈欢迎，因为预言早已预言，陌生人将会到来，为他的土地带来巨大的荣耀：他们的领袖将娶他的女儿，美丽的拉维尼亚公主，她是所有王子徒劳的追求者。意大利，尤其是伟大的图尔努斯，附近鲁图利亚人的国王。
No sooner has Aeneas returned from his visit to the underworld in the Aeneid than the Trojans recognise that they have in fact at last arrived at the very place, the mouth of the River Tiber, where the gods intend they should settle. And at first all seems set for a quick and happy ending to the story. They are warmly welcomed by the local king Latinius, because prophecy has long foretold that strangers would arrive, bringing great honour to his land: and that their leader would marry his daughter, the beautiful Princess Lavinia, who has been vainly wooed by every prince in Italy, above all by the great Turnus, king of the nearby Rutulians.
但当公主被许配给埃涅阿斯时，黑色的嫉妒占据了图努斯的心：埃涅阿斯最后也是最可怕的磨难逐渐乌云密布。整首诗的后半部分都在描述部落如何从周围乡村聚集起来，将特洛伊入侵者扔回大海；集结两支伟大的军队；第一次小冲突；一场激烈的战斗，特洛伊人仅靠牙齿皮肉才幸存；最后是埃涅阿斯和他的“黑暗对手”之间的一场巨大的单打斗，起初似乎英雄会输。但最终一切都结束了，他的保护女神维纳斯盘旋在他的上方，他取得了彻底的胜利。
But when the Princess is promised to Aeneas, black jealousy seizes Turnus’s heart: and gradually the storm clouds gather for Aeneas’s last and most terrible ordeal. The entire second half of the poem is taken up with describing how the tribes gather from all over the surrounding countrsyide, to hurl the Trojan interlopers back into the sea; the mustering of two great armies; the first skirmishes; a tremendous battle, which the Trojans survive only by the skin of their teeth; and finally the titanic single combat between Aeneas and his ‘dark rival’, which at first it seems the hero will lose. But it ends at last, with his protective goddess Venus hovering over him, in his total victory.
再次，当阿尔戈英雄抵达科尔基斯索取金羊毛时，邪恶的埃忒斯国王告诉杰森，他必须面对三项考验，这比阿尔戈英雄在旅途中遇到的任何考验都要严峻。首先，他必须给两只居住在地下洞穴中、长着铜蹄、喷火的巨大公牛套上轭，并犁出一大片土地。然后他必须在这片土地上撒下龙的牙齿，从那里将会涌现出一支由凶猛的战士组成的军队，并杀死他们。最后，如果他能在这一切中幸存下来，他必须以某种方式逃脱可怕的、不眠之龙的防御，这条龙盘绕在悬挂着闪亮羊毛的树上，日夜守卫着它。
Again, when the Argonauts arrive in Colchis to claim the Golden Fleece, the evil King Aetes tells Jason that he must face three tests, far worse than anything the Argonauts had met on their journeyings. First he must yoke two monstrous, brazen-hoofed, fire-breathing bulls, which live in an underground cavern, and plough a great field. Then he must sow the field with dragon’s teeth, from which will spring up an army of fierce warriors, and slay them. Finally, if he survives all this, he must somehow slip through the defences of the fearsome, unsleeping dragon which is coiled round the tree on which the shining fleece hangs, guarding it night and day.
这似乎是不可能完成的任务。但幸运的是，伊阿宋正如忒修斯抵达克里特岛挑战牛头怪时一样，已经赢得了神力“帮手”——暴君美丽的女儿美狄亚公主的喜爱。正如阿里阿德涅为忒修斯提供了魔线一样，美狄亚为伊阿宋提供了魔药，使他能够抵挡住疯牛的每一次猛攻。当他用龙牙播种田地，面对大批武装战士时，他再次从看似不可避免的死亡中被拯救出来，这一次是他自己的聪明才智，当他向他们中间扔了一块石头时，他们被救了。所有人都互相攻击。最后，当美狄亚得知她愤怒的父亲正计划在伊阿宋和他所有的同伴熟睡时谋杀他们时，她在夜间秘密地带他前往悬挂金羊毛的神圣树林，并携带一种神奇的药物，使龙失去知觉。他终于可以夺取他的奖品了。
It seems like mission impossible. But fortunately for Jason, just as happened when Theseus arrived in Crete to challenge the Minotaur, he has already won the love of a ‘helper’ of supernatural powers, the tyrant’s beautiful daughter, the Princess Medea. Just as Ariadne provided Theseus with the magic thread, so Medea provides Jason with a magic salve, which enables him to withstand every onslaught of the mad bulls. When he has sown the field with dragon’s teeth, and is confronted with the mass of armed warriors, he is again saved from seemingly inevitable death, this time by his own ingenuity, when he throws a rock into the middle of them, so that they all turn on each other. Finally, when Medea learns that her enraged father is treacherously planning to murder Jason and all his companions while they are sleeping, she secretly leads him by night to the sacred grove where the Golden Fleece hangs, armed with a magic drug which renders the dragon unconscious. At last he can seize his prize.
当犹太人到达应许之地时（没有摩西或亚伦，上帝规定他们应该在目标实现之前死去，因为他们对上帝保护的信心动摇了），他们面临着一系列“最后的考验”，就像那些与其他任务英雄对抗的人：与已经居住在那里的部落进行的一系列激烈战斗，从耶利哥的大围攻开始，并以他们对“三十一位国王”的胜利而告终。
When the Jews arrive in the Promised Land (without Moses or Aaron, whom God has decreed should die before the goal is reached, for allowing their faith in his protection to waver), they face a series of ‘final ordeals’ just as great as those confronting the other Quest heroes: a series of tremendous battles with the tribes who already live there, beginning with the great siege of Jericho, and culminating in their victory over ‘the Thirty One Kings’.
圣杯故事进行到一半时，很明显只有加拉哈德、珀西瓦尔和博尔斯这三位骑士有资格承担任务的最后阶段，有一种完整的场景转换来标记第二部分故事从一开始。我们离开“废森林”，与三位英雄一起乘坐一艘由美丽少女驾驶的神奇船穿越大海。当英雄们下船时，他们面临着最后的一系列严峻考验，包括故事中最血腥的战斗，占领和摧毁了一座可怕的城堡，许多公主在那里被杀。所有这一切都为他们到达另一座神秘城堡时的神秘高潮做好了准备，看到圣杯本身被天使运来，基督的临在在他们上方盘旋。
Halfway through the story of the Holy Grail, when it is clear that only three knights, Galahad, Percival and Bors, are worthy to undertake the final stages of the Quest, there is a kind of complete scene-shift to mark the second part of the story from the first. We leave ‘the Waste Forest’ and travel with the three heroes across the sea, in a miraculous ship steered by a beautiful maiden. When the heroes disembark, they face their last great series of ordeals, including the bloodiest battle of the story, the capture and destruction of a grim castle where many Princesses have been slain. All this prepares them for the mystical climax when they arrive at another mysterious castle, to see the Holy Grail itself borne in by angels, with a vision of Christ’s presence hovering above them.
当艾伦·夸特曼和他的朋友们最终越过巨大的山脉屏障时，他们的故事也同样到达了一半。他们终于离开了沙漠的酷暑，发现自己正在寻找所罗门失落王国的乡村景色美得令人惊叹，郁郁葱葱，周围环绕着蓝色的山脉。他们被当地人视为神灵，并沿着一条伟大而古老的高速公路前往首都，在那里他们发现这个国家正处于暴虐的特瓦拉国王和他丑陋的老跟班女巫加古尔的邪恶统治之下，已有数百年历史。
When Allan Quatermain and his friends finally cross over the great mountain barrier, they have similarly reached the halfway point of their story. They have at last left behind the torturing heat of the desert, and they find themselves looking down on the breathtakingly beautiful, lush countryside of Solomon’s lost kingdom, ringed by blue mountains. They are greeted by the natives as gods, and led along a great, ancient highway to the capital, where they find that the country is under the evil sway of the tyrranical King Twala, and his hideous old hench-woman, the witch Gagool, hundreds of years old.
他们发现，旅途中神秘的帝王同伴翁波帕实际上是这片土地上真正的国王，他正在从篡夺者特瓦拉手中夺回王位。再次，像其他英雄一样，他们必须面对三场考验。首先，他们在试图营救美丽的当地女孩福拉塔（Foulata）时落入了特瓦拉（Twala）的掌控之中，而福拉塔是一位对他们产生了依恋的当地女孩。他们巧妙地利用年鉴预测月食，吓坏了特瓦拉的追随者，并“惊险地逃脱了死亡”。其次是特瓦拉的追随者和翁波帕的追随者之间的大战，最终导致暴君的死亡。第三，整个故事的高潮是他们与加古尔一起进入山脉中心一系列巨大而神秘的洞穴，这变成了“拜访地狱”、“战胜怪物”、“从黑暗的封闭空间中解放宝藏”和“惊险的死亡逃脱”合二为一。在一个洞穴中，他们发现了该国国王的石化尸体，它们围坐在一张石桌旁。最后，他们发现了所罗门的传奇宝藏，这是世界上最丰富的钻石宝藏，在黑暗中闪闪发光。此时，“宝藏的守护者”加古尔“像蛇一样”爬了回来，“带着可怕的恶毒表情”关上了巨大的石门——但在这个过程中，她把自己压死了。英雄们被困在永恒的黑暗中，准备赴死。只有到了关键时刻，他们才会像被困在宝藏洞里的阿拉丁一样，奇迹般地找到出路：像忒修斯一样，穿过迷宫般的秘密通道，最终将他们引向凉爽的地方。
They discover that their mysteriously regal companion on the journey, Umbopa, is in fact the true king of this land, returning to claim his throne from the usurper Twala; and again, like other heroes, they have to face three ordeals. In the first they fall into Twala’s power, while attempting to rescue the beautiful Foulata, a local girl who has become attached to them. By cunning use of the almanac predicting a lunar eclipse, they terrify Twala’s followers and make ‘a thrilling escape from death’. Second is the great battle between the followers of Twala and those of Umbopa, which culminates in the tyrant’s death. Thirdly, the climax to the whole story, is their journey with Gagool into the series of vast, mysterious caves in the heart of the mountains, which turns into a combination of ‘visit to the underworld’, ‘overcoming the monster’, ‘liberating the treasure from the dark enclosing space’ and ‘thrilling escape from death’ all in one. In one cavern they find the petrified corpses of the kings of the land, sitting round a stone table. In the last they come across the legendary treasure of Solomon, the richest hoard of diamonds the world has ever known, shining in the darkness. At this point, Gagool, the ‘guardian of the treasure’, creeps back ‘like a snake’ and ‘with a look of fearful malevolence’ swings shut the great stone door – but in the process crushing herself to death. The heroes are trapped in the eternal darkness and prepare to die. Only in the nick of time, like Aladdin trapped in his treasure cave, do they miraculously find a way out: threading their way, like Theseus, through the labyrinth of secret passages which lead them at last up and out into the cool, fresh air of the mountainside.
当这一小群雄性兔子到达沃特希普敦时，他们的故事正处于故事的中间点，就像埃涅阿斯和特洛伊人到达意大利时一样。他们已经达到了目标，但他们现在必须面临的任务是找到一些雌性兔子，并与它们建立一个持久的社区；本书的其余部分讲述了他们与可怕的埃弗拉法的巨大斗争，埃弗拉法是一个距离不远的地方，由冷酷的暴君沃德沃特将军像极权主义监狱一样管理着，碰巧有一群年轻的雌性兔子被囚禁在那里，领导着由美丽而聪明的 Hyzenthlay 创作。当这些年轻的“兔子公主”获得解放时，会有一次“惊心动魄的逃脱”。温德沃特将军作为复仇者，与一群埃夫拉凡暴徒紧追不舍，以“夺回属于他自己的东西”。沃特希普镇 (Watership Down) 上有一场伟大的战斗，海泽尔和他的朋友们似乎被困在他们的巢穴的“黑暗封闭空间”中。但就在一切似乎都已失败的时候，黑兹尔巧妙地寻求了附近一只农场狗的帮助，这使得伤草和他的军队溃败。新的沃伦终于安全可靠地建立起来了。
When the little band of male rabbits arrives on Watership Down, they are at much the same halfway point of their story as Aeneas and the Trojans when they arrive in Italy. They have reached their goal, but they must now face the task of finding some female rabbits with whom they can found a lasting community; and the rest of the book tells of their tremendous struggle with the fearful Efrafa, a warren some way off which is run like a totalitarian prison by the grim tyrant General Woundwort, where it just happens that a group of young female rabbits are imprisoned, led by the beautiful and intelligent Hyzenthlay. There is a ‘thrilling escape’, when these young ‘rabbit princesses’ are liberated. General Woundwort, as Avenger, comes hot in pursuit with a band of Efrafan thugs, to ‘reclaim his own’. There is a great battle back on Watership Down, with Hazel and his friends seemingly trapped in the ‘dark enclosing space’ of their warrren. But just when all seems lost, Hazel ingeniously manages to enlist the help of a nearby farm dog, which puts Woundwort and his army to rout. The new warren is at last safely and securely established.
更新生命的目标
The life-renewing goal
这样，伟大的探索就结束了，然后我们看到的也许是这类故事中最令人惊讶的事情，所有这些非常不同的故事的英雄实际上已经通过非常相似的阶段到达了一个非常相似的地方。目标。奥德修斯重新夺回了他的女王和他的王国。埃涅阿斯赢得了他的公主和他的王国。杰森赢得了他的公主，并通过她继承了科林斯王国（此时金羊毛本身已被视为已赢得的“宝藏”的纯粹象征）。犹太人赢得了胜利并建立了他们的新王国。圣杯英雄们带着他们的伟大宝藏——金色圣杯，来到了萨拉斯城，加拉哈德在那里成为国王，继承了邪恶的暴君，然后被接纳进入天国。艾伦·夸特曼和他的朋友们，在建立了翁波帕作为失落而现在发现的所罗门土地的合法国王，代替邪恶的暴君后，带着他们的神话般的宝藏回家。沃特希普镇的兔子们与它们的“公主”联合起来，建立了它们的新王国——在最后几页中，它们的“国王”榛树可以环顾四周，看着新一代的小兔子在阳光下玩耍，知道未来是有把握的。然后，一个神秘的陌生人把他召唤到兔子天堂，他的耳朵在洞穴的黑暗中发出“微弱的银光”。他们的“国王”榛树可以环顾新一代幼兔在阳光下玩耍，知道未来是有保障的。然后，一个神秘的陌生人把他召唤到兔子天堂，他的耳朵在洞穴的黑暗中发出“微弱的银光”。他们的“国王”榛树可以环顾新一代幼兔在阳光下玩耍，知道未来是有保障的。然后，一个神秘的陌生人把他召唤到兔子天堂，他的耳朵在洞穴的黑暗中发出“微弱的银光”。
Thus does the great Quest come to an end, and we then we see perhaps the most surprising thing of all about this type of story, The heroes of all these very dissimilar tales have in fact arrived, by remarkably similar stages, at a remarkably similar goal. Odysseus has regained his Queen and his kingdom. Aeneas has won his Princess and his kingdom. Jason has won his Princess and, through her, succeeds to the kingdom of Corinth (the Golden Fleece itself by this time having come to be seen as purely symbolic of the ‘treasure’ that has been won). The Jews have won and established their new kingdom. The Grail heroes carry their great treasure, the golden Grail, to the city of Sarras, where Galahad becomes king, succeeding an evil tyrant, and is then received into the kingdom of heaven. Allan Quatermain and his friends, having established Umbopa as the rightful king over the lost and now found land of Solomon, in place of an evil tyrant, return home with their fabulous treasure. The rabbits of Watership Down, united with their ‘princesses’, have established their new kingdom – to the point where, in the closing pages, their ‘King’ Hazel can look round at a new generation of young rabbits playing in the sun, knowing that the future is assured. He is then called by a mysterious stranger, whose ears shine in the darkness of the burrow with ‘a faint silver light’, off to a rabbit heaven.
在我们详细研究过的任务中，唯一似乎不遵循这种模式的任务是《天路历程》。但即使是克里斯蒂安也在他的目标边缘遇到了他最接近致命的考验，当他在“大妖精和恶灵”的可怕幻象中差点被淹死在环绕着天城所在山丘的深邃黑暗的河流中时——然后在号角声中被接进天国。班扬似乎下意识地意识到，为了使他的故事更加完整，克里斯蒂安应该与一位“公主”结合，他立即开始撰写故事的第二部分，该部分不太为人所知，讲述了他的英雄的妻子如何克里斯蒂安娜踏上了漫长而危险的旅程去见他。
Of the Quests we have looked at in any detail, the only one which might not seem to follow this pattern is Pilgrim’s Progress. But even Christian meets his most nearly fatal ordeal on the very edge of his goal, when he nearly drowns, amid hideous visions of ‘hobgoblins and evil spirits’, in the deep, dark river which surrounds the hill on which the Celestial City stands – and is then received to the sound of trumpets into the kingdom of heaven. And as if Bunyan subconsciously realised that, to make his story complete, Christian should there be united with a ‘Princess’, he promptly set about writing the second, much less well-known part of his tale, which tells of how his hero’s wife Christiana makes her own long and hazardous journey to join him.
所有这些故事的结局的真正要点在于，它本质上是如此熟悉。任务的真正目标与我们在之前类型的故事中看到的幸福结局非常相似：男女主角、男人和女人最终走到一起，以及继承或建立一个王国。在每种情况下，部分或全部正是这一点使得探索以完成的形象结束。在每种情况下，这也向我们传达了这样一种感觉：在故事的开头阶段，生命似乎受到了威胁，但在某种深刻的意义上已经得到了更新。在经历了求婚者漫长而贫瘠的暴政之后，奥德修斯进行了救赎，使他的王国恢复了生机。埃涅阿斯的特洛伊城已经死了：但在台伯河上，它作为新罗马再次复活，并将一直延续到辉煌的未来。伊阿宋回到家乡，将伊奥尔科斯从继父珀利阿斯国王的暴政中拯救出来，然后在科林斯建立了自己的新王朝。当犹太人辛苦地穿越死寂的荒野时，没有什么比摩西不断从岩石中打出“活水”更能保证即将到来的新生命了：在埃及的严酷奴隶制岁月中，他们的儿子们，新生命的希望，经常被谋杀，他们最终在“流着奶与蜜”的茂盛土地上被释放，那里生命丰富，未来有保障。
The real point about the ending of all these stories is that in essence it is so familiar. The real goal of the Quest emerges as remarkably similar to that happy ending we have seen in our previous types of story: the final coming together of hero and heroine, man and woman, and the succession to, or establishing of a kingdom. In each case it is this, in part or whole, which enables the Quest to end on an image of completion. And in each case what this also conveys to us is the sense that life, which in the opening stages of the story seemed so threatened, has in some profound sense been renewed. Odysseus has redemeed and brought his kingdom back to life, after the long, sterile years of the suitors’ tyranny. Aeneas’s city of Troy is dead: but on the Tiber it lives again, as new Rome, and will do so far into the glorious future. Jason returns home to redeem Iolcos from the sterile tyranny of his step-father King Pelias, and then sets up his own new dynasty in Corinth. As the Jews toiled across the dead wilderness there was no more regular promise of the new life that was to come than Moses’ repeated striking of ‘living waters’ out of the rock: and from the years of harsh slavery in Egypt, where their sons, the promise of new life, had routinely been murdered, they are at last set free in the lush land ‘flowing with milk and honey’, where life abounds and is assured for the future.
等等，还有《圣杯探索》、《天路历程》、《所罗门王的矿井》、《沃特希普坠落》。在每种情况下，故事都以生命的伟大复兴结束，以新的安全基地为中心，保证未来。我们最终可以看到（尽管在故事仍在展开时还不清楚）这就是任务一直以来的真正目的。
And so on, with the Grail Quest, Pilgrim’s Progress, King Solomon’s Mines, Watership Down. In each case the story ends on a great renewal of life, centred on a new secure base, guaranteed into the future. And we can see at last (although it was by no means clear while the story was still unfolding) that this was what the Quest had really been about all along.
任务：总结
The Quest: Summing up
故事在人类想象中自然形成的第三种方式集中在英雄对某个遥远而重要的目标的牵引上。无论他在这一过程中被卷入多少特定的情节，我们总是知道这些只是从属于他的首要目标，并且在达到并适当确保该目标之前，故事无法得到令人满意的解决。基本的探索故事通过以下一系列阶段展开：
A third way in which stories naturally shape themselves in the human imagination centres on the pull of the hero towards some distant, all-important goal. However much he becomes drawn into particular episodes along the way, we always know that these are merely subordinate to his overriding purpose, and that until that goal has been reached and properly secured, the story cannot be satisfactorily resolved. The basic Quest story unfolds through a series of stages like this:
1.召唤：某些“毁灭之城”的生活变得压抑和难以忍受，英雄认识到他只能通过漫长而艰难的旅程来纠正问题。他被给予超自然或有远见的指导，以实现他必须追求的遥远的、更新生命的目标。
1. The Call: Life in some ‘City of Destruction’ has become oppressive and intolerable, and the hero recognises that he can only rectify matters by making a long, difficult journey. He is given supernatural or visionary direction as to the distant, life-renewing goal he must aim for.
2.旅程：英雄和他的同伴们出发穿越充满敌意的地形，遭遇了一系列危及生命的磨难。其中包括需要克服的可怕怪物；需要抵制的诱惑；而且，可能需要在两个同样致命的“对立面”之间旅行。这些故事都以“惊心动魄的逃亡”结束，考验与休息期交替出现，英雄和他的同伴通常会受到“聪明的老人”或“美丽的年轻女子”的款待、帮助或建议。在这个阶段，英雄可能还必须进行一次“地下世界之旅”，在那里他暂时超越死亡的分离力量，并与过去的灵魂进行有益的接触，这些灵魂指导他如何实现他的目标。
2. The Journey: The hero and his companions set out across hostile terrain, encountering a series of life-threatening ordeals. These include horrific monsters to be overcome; temptations to be resisted; and, probably the need to travel between two equally deadly ‘opposites’. These each end with a ‘thrilling escape’, and the ordeals alternate with periods of respite, when the hero and his companions receive hospitality, help or advice, often from ‘wise old men’ or ‘beautiful young women’. During this stage the hero may also have to make a ‘journey through the underworld’, where he temporarily transcends the separating power of death and comes into helpful contact with spirits from the past, who give him guidance as to how to reach his goal.
3.到达和挫折：英雄到达了他的目标的视线范围内。但他的故事还远没有结束，因为现在，在目标的边缘，他看到一系列新的可怕的障碍出现在他和他的奖品之间，必须克服这些障碍才能完全实现。并完全安全。
3. Arrival and Frustration: The hero arrives within sight of his goal. But he is far from having reached the end of his story, because now, on the edge of the goal, he sees a new and terrible series of obstacles looming up between him and his prize, which have to be overcome before it can be fully and completely secured.
4.最后的磨难：英雄必须接受最后一系列的考验（通常是三项），以证明他确实配得上这个奖项。这最终导致最后一场伟大的战斗或磨难，这可能是所有战斗中最具威胁的。
4. The Final Ordeals: The hero has to undergo a last series of tests (often three in number) to prove that he is truly worthy of the prize. This culminates in a last great battle or ordeal which may be the most threatening of all.
5.目标：在最后一次“惊心动魄地逃脱死亡”之后，最终赢得了王国、“公主”或改变生命的宝藏：并保证了无限期地延伸到未来的新生生命。
5. The Goal: After a last ‘thrilling escape from death’, the kingdom, the ‘Princess’ or the life-transforming treasure are finally won: with an assurance of renewed life stretching indefinitely into the future.
到目前为止，我们已经通过一些世界上最著名和最深刻的例子来说明探索的故事；虽然国王的加入《所罗门的地雷》和《沃特希普坠落》展示了如何在不那么严肃的讲故事形式中同样可以找到这个主题。
We have so far illustrated the Quest story by looking at some of the best-known and most profound examples in the world; although the inclusion of King Solomon’s Mines and Watership Down showed how this theme may equally well be found in less serious forms of storytelling.
即使是像让·德·布伦霍夫（Jean de Brunhoff）的巴巴尔（Babar）和圣诞老人这样微小而迷人的例子，我们看到了正在发挥作用的原型结构的特征。巴巴尔王国的小象孩子们非常不高兴，因为他们想知道为什么圣诞老人从来没有拜访过他们。巴巴尔国王决定亲自去寻找圣诞老人来纠正问题。在旅途中，他连续遇到了三次“帮手”，他们给了他建议：一些老鼠，一群麻雀，最后是一位教授，当我们看到他坐在苏格拉底半身像下面时，我们认为他是一位“聪明的老人” '。这位圣人最终让巴巴尔走上了正确的道路，英雄在他忠实的伙伴——一只狗的陪伴下开始了他的探索的最后阶段。他们进入了一片白雪覆盖的大森林，来到一座山上，他们面临着三重考验。首先，狗被雪球投掷，并被一小群矮人差点窒息而死。然后矮人们与巴巴尔本人对峙，但他用鼻子把他们推倒了。终于，一场猛烈的暴风雪刮起来了。巴巴尔和狗在雪地里挖了一个洞作为避难所，但他们又冷又累，几乎要放弃希望了——当他们经历了一次“惊心动魄的死里逃生”时。他们身下的积雪消失了，他们掉进了一个巨大的、灯火通明的地下洞穴，这是一个玩具宝库，在那里他们受到了闪闪发光、令人尊敬的圣诞老人本人的热烈欢迎。他同意参观巴巴尔的王国，这给孩子们带来了如此多的欢乐，以至于当他飞走时，他承诺每年都会回来（保证在未来无限期地更新生命！）。但他们又冷又累，正处于放弃希望的边缘——当他们经历了一次“惊心动魄的死里逃生”时。他们身下的积雪消失了，他们掉进了一个巨大的、灯火通明的地下洞穴，这是一个玩具宝库，在那里他们受到了闪闪发光、令人尊敬的圣诞老人本人的热烈欢迎。他同意参观巴巴尔的王国，这给孩子们带来了如此多的欢乐，以至于当他飞走时，他承诺每年都会回来（保证在未来无限期地更新生命！）。但他们又冷又累，正处于放弃希望的边缘——当他们经历了一次“惊心动魄的死里逃生”时。他们身下的积雪消失了，他们掉进了一个巨大的、灯火通明的地下洞穴，这是一个玩具宝库，在那里他们受到了闪闪发光、令人尊敬的圣诞老人本人的热烈欢迎。他同意参观巴巴尔的王国，这给孩子们带来了如此多的欢乐，以至于当他飞走时，他承诺每年都会回来（保证在未来无限期地更新生命！）。
Even in so slight and charming an example as Jean de Brunhoff’s Babar and Father Christmas, we see features of the archetypal structure at work. The little elephant-children in Babar’s kingdom are very unhappy as they wonder why they are never visited by Father Christmas. King Babar decides to rectify matters by going in search of Father Christmas himself. On his journey he has three successive encounters with ‘helpers’, who give him advice: some mice, a flock of sparrows, finally a Professor whom, as we see him sitting below a bust of Socrates, we take for a ‘wise old man’. This sage at last puts Babar on the right track and the hero sets out on the closing stages of his Quest, accompanied by his faithful companion, a dog. They enter a great snow-covered forest and come to a mountain where they face three ordeals. Firstly the dog is pelted with snowballs, and nearly suffocated by a small army of dwarves. Then the dwarves confront Babar himself, but he pushes them over with his trunk. Finally a violent blizzard blows up. Babar and the dog dig a hole in the snow for shelter, but they are so cold and tired that they are on the verge of giving up hope – when they have a ‘thrilling escape from death’. The snow gives way under them, and they fall into a huge, brightly-lit underground cavern, a treasure house of toys, where they are warmly welcomed by the twinkling and venerable Father Christmas himself. He agrees to visit Babar’s kingdom, which brings such joy to the children that, as he flies away, he promises to return every year (renewal of life assured indefinitely into the future!).
另一个轻松有趣的故事，不太明显地受到探索的影响，是儒勒·凡尔纳的《八十天环游世界》（1873）。故事的悬念完全取决于英雄菲尼亚斯·福格能否及时实现他遥远的目标并赢得巨额赌注。从这个意义上说，他的任务目标恰好是回到他开始的地方这一事实并不重要。当然，这本书的大部分内容都是由他的旅程组成，充满了磨难和惊心动魄的逃脱，其中最具戏剧性的是在印度，在他的仆人和“忠实伙伴”路路通的帮助下，福格真正解放了一位美丽的公主艾乌达。一位印度王子的年轻寡妇，正当她即将被丈夫葬礼柴堆的火焰吞噬时。三人继续前行，侦探菲克斯尾随其后，后者想要逮捕福格，因为他策划了一场英格兰银行的大规模抢劫案。当灾难发生时，他们及时回到了英国。就在他的目标即将到来之际，福格面临着三个意想不到的考验。首先他被菲克斯逮捕并入狱。在关键时刻，人们发现他是完全无辜的：但他现在错过了最后一班火车，这趟火车可以把他及时带回伦敦赢得他的赌注。他租了一辆“特殊”火车，但火车在途中受阻，到达伦敦时晚了几分钟。似乎一切都失去了，第二天早上福格开始为自杀做准备。然后路路通碰巧听到有人提到这个日期。当然！从西到东环游世界，他们赢得了一天的时间。现在他们只有十分钟的时间让福格到达他的俱乐部并宣布胜利。英雄在还剩三分钟的时候成功了。他赢得了他的“宝藏”：尽管，正如作者小心强调的那样，首先他被菲克斯逮捕并入狱。在关键时刻，人们发现他是完全无辜的：但他现在错过了最后一班火车，这趟火车可以把他及时带回伦敦赢得他的赌注。他租了一辆“特殊”火车，但火车在途中受阻，到达伦敦时晚了几分钟。似乎一切都失去了，第二天早上福格开始为自杀做准备。然后路路通碰巧听到有人提到这个日期。当然！从西到东环游世界，他们赢得了一天的时间。现在他们只有十分钟的时间让福格到达他的俱乐部并宣布胜利。英雄在还剩三分钟的时候成功了。他赢得了他的“宝藏”：尽管，正如作者小心强调的那样，首先他被菲克斯逮捕并入狱。在关键时刻，人们发现他是完全无辜的：但他现在错过了最后一班火车，这趟火车可以把他及时带回伦敦赢得他的赌注。他租了一辆“特殊”火车，但火车在途中受阻，到达伦敦时晚了几分钟。似乎一切都失去了，第二天早上福格开始为自杀做准备。然后路路通碰巧听到有人提到这个日期。当然！从西到东环游世界，他们赢得了一天的时间。现在他们只有十分钟的时间让福格到达他的俱乐部并宣布胜利。英雄在还剩三分钟的时候成功了。他赢得了他的“宝藏”：尽管，正如作者小心强调的那样，但他现在错过了最后一班火车，这趟火车可以把他及时带回伦敦赢得他的赌注。他租了一辆“特殊”火车，但火车在途中受阻，到达伦敦时晚了几分钟。似乎一切都失去了，第二天早上福格开始为自杀做准备。然后路路通碰巧听到有人提到这个日期。当然！从西到东环游世界，他们赢得了一天的时间。现在他们只有十分钟的时间让福格到达他的俱乐部并宣布胜利。英雄在还剩三分钟的时候成功了。他赢得了他的“宝藏”：尽管，正如作者小心强调的那样，但他现在错过了最后一班火车，这趟火车可以把他及时带回伦敦赢得他的赌注。他租了一辆“特殊”火车，但火车在途中受阻，到达伦敦时晚了几分钟。似乎一切都失去了，第二天早上福格开始为自杀做准备。然后路路通碰巧听到有人提到这个日期。当然！从西到东环游世界，他们赢得了一天的时间。现在他们只有十分钟的时间让福格到达他的俱乐部并宣布胜利。英雄在还剩三分钟的时候成功了。他赢得了他的“宝藏”：尽管，正如作者小心强调的那样，第二天早上，福格开始为自杀做准备。然后路路通碰巧听到有人提到这个日期。当然！从西到东环游世界，他们赢得了一天的时间。现在他们只有十分钟的时间让福格到达他的俱乐部并宣布胜利。英雄在还剩三分钟的时候成功了。他赢得了他的“宝藏”：尽管，正如作者小心强调的那样，第二天早上，福格开始为自杀做准备。然后路路通碰巧听到有人提到这个日期。当然！从西到东环游世界，他们赢得了一天的时间。现在他们只有十分钟的时间让福格到达他的俱乐部并宣布胜利。英雄在还剩三分钟的时候成功了。他赢得了他的“宝藏”：尽管，正如作者小心强调的那样，他在旅途中获得的真正宝藏是“公主”。就在一切似乎都已失去的时候，他们终于宣布了彼此的“神圣爱情”，现在可以结婚了。5
Another light and entertaining tale rather less obviously shaped by the Quest is Jules Verne’s Around the World in Eighty Days (1873). The story’s suspense hangs entirely on whether the hero, Phineas Fogg, can reach his distant goal in time to win a hefty bet. The fact that the goal of his Quest happens to be to arrive back exactly where he started is in this sense immaterial. Naturally much of the book consists of his journey, complete with ordeals and thrilling escapes, the most dramatic of which is in India where, with the aid of his servant and ‘faithful companion’ Passepartout, Fogg literally liberates a Princess, Aouda, the beautiful young widow of an Indian prince, just as she is about to be consumed by the flames of her husband’s funeral pyre. The three travel onwards, shadowed by the detective Fix, who wants to arrest Fogg for having master-minded a huge robbery at the Bank of England. They arrive back in England just in time, when disaster strikes. Within sight of his goal, Fogg faces three unexpected ordeals. First he is arrested by Fix and imprisoned. In the nick of time it is discovered that he is perfectly innocent: but he has now missed the last train which could carry him back to London in time to win his bet. He hires a ‘special’ train, but it is held up on the way and arrives in London minutes too late. It seems all is lost, and next morning Fogg begins to make preparations for suicide. Then Passepartout happens to hear someone mention the date. Of course! By going round the world from west to east they had gained a day; and they now have just ten minutes for Fogg to get to his club to claim victory. The hero makes it with three minutes to spare. He has won his ‘treasure’: although, as the author is careful to emphasise, the real treasure he has gained from his journey is the ‘Princess’. Just when all seemed lost, they had finally declared their ‘sacred love’ for each other, and can now get married.5
尽管《探索》是一种如此独特的故事类型，但它显然与我们之前看过的两种类型的情节有共同点，尤其是在基本结构方面。我们看到了《战胜怪物》和《白手起家》的故事在最深层次上是如何以一种三重节奏展开的。它们以收缩的基调开始，随后，当男女主人公响应“召唤”时，随着精神和希望的提升，进入一个扩展阶段。这最终会导致更严重的收缩，导致男女主人公逐渐进入准备状态，准备与长期压迫他们的黑暗势力进行最后的决定性对抗。当这一切到来时，故事达到了高潮，紧张也达到了顶峰。然后反转来了
Although the Quest is such a distinctive type of story, it obviously has features in common with the two types of plot we looked at earlier, not least in terms of its basic structure. We saw how, at their deepest level, both Overcoming the Monster and Rags to Riches stories unfold by a kind of three-fold rhythm. They begin on a note of constriction, followed, when the hero or heroine respond to the ‘Call’, by a phase of expansion, as spirits and hopes are lifted. This leads eventually to a more serious constriction, leading to a phase when the hero or heroine are gradually being brought to a state of readiness for the final decisive confrontation with the dark forces which have so long oppressed them. When this arrives, providing the climax to the story, constriction reaches its height. Then comes the reversal, the triumphant liberation which paves the way to the happy ending.
我们在《探索》的结构中看到了同样的基本节奏。最初的压抑感促使英雄和他的同伴必须离开。当他们踏上旅程进入世界时，我们就会有一种扩张的感觉：尽管其中包含较少的收缩和释放的交替，因为每次磨难之后都会有喘息的机会。然后，当英雄即将到达他的目标时，我们会遇到更严重的困境，并且必须面对最后的考验。故事逐渐走向高潮，他陷入了与一直阻碍他实现目标的黑暗势力的最后一场决战。最后，我们分享了他从所有反对中解放出来的经历，黑暗被推翻，目标得以实现，故事以光荣更新的生活形象结束。
We see the same fundamental rhythm at work in the structure of the Quest. There is the initial feeling of constriction which persuades the hero and his companions that they must leave. We then have a sense of enlargement as they set out into the world on their journey: although this contains within it lesser alternations of constriction and release, as each ordeal is followed by respite. We then come to the more serious constriction as the hero comes within sight of his goal, and has to face the final ordeals. Gradually the story works up to its climax, when he is pitted in a last decisive battle against the dark forces which have stood between him and his goal all along. At last we share his liberation from all opposition, as the darkness is overthrown, the goal secured and the story ends on the image of life gloriously renewed.
到目前为止，我们看到的所有图都具有相同的基本结构。他们的另一个共同点是，与他们的英雄或女英雄相对立的主导人物——怪物、暴君、女巫、邪恶的继母和对手的恶意主要是威胁感和压迫感，他们都是阴暗人物；而男女主角本身所表现出的品质使他们毫无疑问地站在“光明”一边。他们可能在故事的早期阶段表现出某些弱点和不足（这是一个重要的因素，我们将回到这一点）。但整个行动的根本目的是向我们展示男主角或女主角成熟到的状态，他们最终准备好与黑暗的原型力量进行决定性的对抗，这可以给他们带来彻底的解放。
All the plots we have looked at so far share this same essential structure. Something else they have in common is that the dominant figures opposed to their heroes or heroines – the monsters, tyrants, witches, wicked stepmothers and rivals, from whose malevolence the sense of threat and constriction mainly emanates – are invariably dark figures; while the heroes and heroines themselves display qualities which put them unmistakably on the side of ‘light’. They may in the earlier stages of the story show certain weaknesses and inadequacies (this is an important element, to which we shall return). But the whole underlying purpose of the action is to show us the hero or heroine maturing to the state where they are finally ready for that decisive confrontation with the archetypal power of darkness which can bring their complete liberation.
然而，正如我们之前看到的“白手起家”故事的“黑暗”版本一样，任务也有“黑暗”版本。也许所有文学中最明显的例子是赫尔曼·梅尔维尔的《白鲸》（1851）。中心人物亚哈船长踏上了跨越世界海洋的执着探索，寻找近乎超自然的大白鲸。正如其他任务英雄看待圣杯、金羊毛或火鸟一样，亚哈将莫比迪克视为具有无限价值的奖品，值得付出任何努力或牺牲去寻找。当然，神秘的鲸鱼是生命本质的典型象征。但亚哈追求目标的精神并没有带来任何改善或光明。他唯一的愿望就是摧毁它。他不是站在生命一边，而是反对生命。这就是为什么他的旅程如此紧张和险恶，充满了灾难的预兆。当他最终找到鲸鱼时，被杀的当然是亚哈本人。其原因我们将在第21章。但再一次，根据那些控制故事展开方式的无情规则，所有关于为什么亚哈的追求只能以灾难结束的线索都存在于这个非常阴暗的故事中。
Nevertheless, just as we earlier saw a ‘dark’ variation on the Rags to Riches story, so there are ‘dark’ versions of the Quest. Perhaps the most obvious example in all literature is Herman Melville’s Moby Dick (1851). The central figure, Captain Ahab, sets out on his obsessive quest across the oceans of the world to find the almost supernatural great white whale. Ahab looks on Moby Dick, as other quest heroes look on the Holy Grail or the Golden Fleece or the Firebird, as a prize of infinite value, worth any effort or sacrifice to seek out. Certainly the mysterious, numinous whale is an archetypal symbol for the essence of life. But there is nothing life-enhancing or light about the spirit in which Ahab pursues his goal. His only desire is to destroy it. He is not on the side of life but opposed to it. This is why the voyage which makes up his quest is so strained and sinister, fraught with omens of disaster. And when he does finally find the whale, it is of course Ahab himself who is slain. The reasons for this we shall explore more fully in Chapter 21. But once again, by those inexorable rules which govern the way in which stories unfold, all the clues as to why Ahab’s quest can only end in disaster are there in this very sombre tale.
第五章
航行与回程
Chapter 5
Voyage and Return
“约翰·吉尔平的有趣的历史，展示了他如何比他预期走得更远，并再次安全回家。”
‘THE DIVERTING HISTORY OF JOHN GILPIN, showing how he went further than he intended and came safely home again.’
威廉·考珀的诗的扉页
Title page of William Cowper’s poem
“你知道，回家后发现一切都还好，尽管不完全一样。”
‘You know, coming home and finding things all right, though not quite the same.’
山姆·詹吉在《指环王》中，JRR托尔金
Sam Gamgee in The Lord of the Rings, J. R. R. Tolkien
“我接近死亡之门，踏上普罗瑟芬的门槛，却被允许返回……午夜时分，我看到阳光照耀，仿佛正午；我进入了地狱众神的面前。
‘I approached the very gates of death and set foot on Proserpine’s threshold, yet was permitted to return ... at midnight I saw the sun shining as if it were noon; I entered the presence of the gods of the underworld.’
阿普列乌斯，金驴
Apuleius, The Golden Ass
《爱丽丝梦游仙境》或《金发姑娘和三只熊》的故事与 HG 威尔斯的《时间机器》和许多其他科幻小说有什么共同点？碧翠丝·波特的《彼得兔》童话故事与伊芙琳·沃的《故园重游》有什么共同点？或柯勒律治的《古水手咏》和浪子寓言；或者电影《飘》中奥菲斯的地狱之旅的希腊神话？
What do the stories of Alice in Wonderland or Goldilocks and the Three Bears have in common with H. G. Wells’s The Time Machine and a great deal of other science fiction? What has Beatrix Potter’s little nursery tale of Peter Rabbit in common with Evelyn Waugh’s Brideshead Revisited; or Coleridge’s The Rime of the Ancient Mariner with the parable of the Prodigal Son; or the Greek myth of Orpheus’s journey to the underworld with the film Gone with the Wind?
还有第二个情节基于旅程，与任务完全不同。它激发了如此多非凡的故事，以至于大多数故事似乎不可能有任何共同点——除了它们都包含一些世界上最令人难忘和神秘的故事这一事实之外。这就是我们可以称之为“航行与回归”的情节。
There is a second plot based on a journey, quite different from the Quest. It has inspired such an extraordinary range of stories that it might seem impossible that most of them could have anything in common – apart from the fact that they include some of the most haunting and mysterious tales in the world. This is the plot we may call the Voyage and Return.
《远航与归来》故事的精髓在于，它的男女主人公（或中心人物群体）离开他们熟悉的、日常的“正常”环境，进入另一个与第一世界完全隔绝的世界，那里的一切似乎都异常得令人不安。乍一看，这个充满怪诞和奇迹的新世界可能看起来很有趣，甚至令人兴奋，但也非常令人困惑。但渐渐地，阴影侵入了。男女主人公感到越来越受到威胁，甚至被困：直到最终（通常是通过“惊心动魄的逃脱”）他们从不正常的世界中被释放，并可以安全地回到他们开始的熟悉的世界。
The essence of the Voyage and Return story is that its hero or heroine (or the central group of characters) travel out of their familiar, everyday ‘normal’ surroundings into another world completely cut off from the first, where everything seems disconcertingly abnormal. At first the strangeness of this new world, with its freaks and marvels, may seem diverting, even exhilarating, if also highly perplexing. But gradually a shadow intrudes. The hero or heroine feels increasingly threatened, even trapped: until eventually (usually by way of a ‘thrilling escape’) they are released from the abnormal world, and can return to the safety of the familiar world where they began.
有两个明显的故事类别，其中航行和返回情节特别熟悉。第一种类型可以追溯到讲故事的初期它描述了前往已知或文明世界之外的某个土地或岛屿的旅程。另一则描述了一次前往离家更近、更明显的想象和魔法王国的旅程。
There are two obvious categories of story where the Voyage and Return plot is particularly familiar. The first is that type stretching back to the dawn of storytelling which describes a journey to some land or island beyond the confines of the known or civilised world. The other describes a journey to some more obviously imaginary and magical realm closer to home.
通常，我们大多数人都是通过第二种类型的故事第一次熟悉航行与回归主题，因为从 CS Lewis 的《狮子、女巫和魔衣橱》到 Frank Baum 的《绿野仙踪》，它为一些故事提供了基础。我们最喜欢的童年故事。
It is generally through stories of this second type that most of us first become acquainted with the Voyage and Return theme because, from C. S. Lewis’s The Lion, the Witch and the Wardrobe to Frank Baum’s The Wizard of Oz, it provides the basis for some of our best-loved stories of childhood.
两个经典例子是刘易斯·卡罗尔的《爱丽丝梦游仙境》和《爱丽丝梦游仙境》。。在炎热的夏日，无聊而昏昏欲睡的维多利亚小女孩突然发现自己被带到了地下一个完全陌生的“仙境”。有好几次她发现自己的体型发生了变化。她遇到了一系列令人眼花缭乱的动物和其他造物，它们的行为像人类，但却用谜语与她交谈。这个超现实的梦幻世界中的一切都像是对熟悉事物的模仿或扭曲。但就在这个梦想似乎最终变成了一场致命的噩梦时，法庭现场的红心皇后愤怒地大喊“砍下她的头”，所有的纸牌都升到空中“飞向她”爱丽丝从梦中醒来，回到了她熟悉的现实世界。
Two classic instances are Lewis Carroll’s Alice stories, Through The Looking Glass and Alice’s Adventures in Wonderland. Bored and drowsy on a hot summer’s day, a little Victorian girl suddenly finds herself transported underground into a totally strange ‘wonderland’. Several times she finds herself altering in size. She meets a bewildering succession of animals and other creations, behaving like human beings but talking to her in riddles. Everything in this surreal dreamworld is like a parody or distortion of something familiar. But just as this dream seems finally to be turning into a death-threatening nightmare, with the Queen of Hearts in the courtroom scene angrily shouting ‘off with her head’ and all the cards rising up into the air and ‘flying down upon her’, Alice is jerked back to the reality of her familiar world by waking up, as if from a dream.
长年流行的好莱坞童话《绿野仙踪》的情节轮廓几乎相同（1939）。年轻的多萝西和叔叔婶婶住在堪萨斯州的农场里，当她的狗托托因为追赶富有、脾气暴躁的老处女的猫而被古尔奇小姐带走时，她感到很不安。托托设法跑回家，但由于害怕再次失去他，多萝西带他去了乡村，梦想着逃到“彩虹之上”的某个遥远的地方。在回家的路上，他们突然被一阵旋转的龙卷风卷到空中，发现自己突然掉进了奥兹国神奇的彩色土地里，就像爱丽丝掉进洞里掉进仙境一样。在这里，多萝西受到了一系列令人困惑的角色的欢迎，包括小芒奇金人和好女巫格林达，但也激起了邪恶女巫的致命敌意，邪恶女巫相当于爱丽丝的红心皇后（也是古尔奇小姐的转世）。多萝西沿着黄砖路逃走，寻求神秘的绿野仙踪的帮助才能回家，途中遇到了稻草人、铁皮人和胆怯的狮子三个盟友，但最终邪恶女巫将他们全部困住在她的城堡里。就在噩梦最严重的时候，多萝西绝望地向女巫泼了一桶魔法水，使她消失了。在“惊心动魄的逃脱”之后，他们回到了巫师身边，结果发现巫师是个骗子。但好女巫用她的魔法让多萝西回到了堪萨斯的家，她在床上醒来，就像从梦中醒来一样。但最终邪恶女巫将他们全部困在她的城堡里。就在噩梦最严重的时候，多萝西绝望地向女巫泼了一桶魔法水，使她消失了。在“惊心动魄的逃脱”之后，他们回到了巫师身边，结果发现巫师是个骗子。但好女巫用她的魔法让多萝西回到了堪萨斯的家，她在床上醒来，就像从梦中醒来一样。但最终邪恶女巫将他们全部困在她的城堡里。就在噩梦最严重的时候，多萝西绝望地向女巫泼了一桶魔法水，使她消失了。在“惊心动魄的逃脱”之后，他们回到了巫师身边，结果发现巫师是个骗子。但好女巫用她的魔法让多萝西回到了堪萨斯的家，她在床上醒来，就像从梦中醒来一样。
Almost identical in outline is the plot of that perennially popular Hollywood fairy tale, The Wizard of Oz (1939). Young Dorothy, who is staying with her uncle and aunt on their farm in Kansas, is upset when her dog Toto is taken off by Miss Gulch for chasing the rich, bad-tempered old spinster’s cat. Toto manages to run back home but, terrified she will lose him again, Dorothy takes him off into the countryside, dreaming of escape into some far-off land ‘over the rainbow’. On their way home, they are suddenly swept into the sky by a swirling tornado and find themselves falling abruptly down into the magical technicolor land of Oz, like Alice falling down her hole into Wonderland. Here Dorothy is greeted by a bewildering succession of characters, including the little Munchkins and the Good Witch Glinda, but provokes the deadly hostility of the Wicked Witch, the equivalent of Alice’s Queen of Hearts (and a reincarnation of Miss Gulch). Dorothy escapes down the Yellow Brick Road to seek the help of the mysterious Wizard of Oz in getting home, On the way she is joined by three allies, the Scarecrow, the Tin Man and the Cowardly Lion, but eventually the Wicked Witch traps them all in her castle. Just when the nightmare is at its height, Dorothy in desperation throws a bucket of magic water over the witch, causing her to vanish. After their ‘thrilling escape’, they return to the Wizard, who turns out to be a fraud. But the Good Witch uses her magic to enable Dorothy to return home to Kansas, where she wakes up in bed as if emerging from a dream.
巴里的《彼得潘》 （1904）是另一个熟悉的童年故事，讲述了进入想象世界的旅程，讲述了达林一家的孩子们如何在半夜从他们熟悉的托儿所飞走的故事，由一个无法行动的小男孩带领。长大后，前往梦幻岛，这是一个奇怪的童年梦想王国，居住着仙女、红印第安人、会说话的鸟和海盗。同样，他们的冒险最初的心情是兴奋的。但他们越来越意识到海盗首领胡克船长的威胁性存在，这给他们带来了阴影。典型的“怪物”形象，用钩子代替手。最终，故事发展到了噩梦般的高潮，胡克和他的手下将孩子们囚禁在船上，并威胁要杀死他们。最后的“惊心动魄的逃脱”是彼得·潘及时赶到，迫使可怕的胡克跳下船，落入鳄鱼的嘴里。孩子们和父母一起安全回到家里的托儿所。
Another familiar childhood example of such a journey into an imaginary world is Barrie’s Peter Pan (1904), the story of how the children of the Darling family fly off from their familiar nursery in the middle of the night, led by the little boy who cannot grow up, to the Never Never Land, a strange childhood dream realm inhabited by fairies, Red Indians, talking birds and pirates. Again the mood of their adventure is initially one of exhilaration. But increasingly it is shadowed by their awareness of the menacing presence of the pirate chief Captain Hook, a typical ‘monster’ figure, with his hook in place of a hand. Eventually the story works up to a nightmare climax, when Hook and his men take the children prisoner on board their ship and threaten to kill them. There is a final ‘thrilling escape’ when Peter Pan arrives in the nick of time and forces the monstrous Hook to jump overboard into the jaws of the crocodile; and the children return safely home to their nursery at home with their parents.
孩子们最早能掌握的一些故事是《航行与归来》情节的简单版本（例如，在他们能够真正理解“白手起家”故事的相对复杂性之前，其中包括“王子”、“公主”和'转变场景'）。
Some of the very earliest stories a child can grasp are simple versions of the Voyage and Return plot (long, for instance, before they can really appreciate the relative complexities of the Rags to Riches story, with its ‘Princes’, ‘Princesses’ and ‘transformation scenes’).
《彼得兔的故事》讲述了一只小兔子冒险走出熟悉的洞穴世界和他的家树林，进入麦格雷戈先生菜园的禁地世界。起初，新世界令人兴奋。但渐渐地，情绪发生了变化。首先，彼得因暴饮暴食而感到恶心。然后他转过拐角，看到了可怕的麦格雷戈先生，他正在追赶他。噩梦般的追逐一直持续到彼得认为自己被困在花园里，无法挽回。但最后，他跳上独轮车，看到了通往安全地带的大门。他英勇地冲了出去，麦格雷戈紧追不舍，并在一次“惊心动魄的逃脱”中成功地爬出了花园，回到了熟悉、安全的家庭和母亲的世界。
The Tale of Peter Rabbit tells of the little rabbit who ventures out of the familiar world of the burrow and the wood which are his home, into the forbidden world of Mr McGregor’s kitchen garden. At first the new world is exhilarating. But gradually the mood changes. First Peter feels sick with overeating. Then he turns a corner and sees the terrifying Mr McGregor, who pursues him. The nightmarish chase continues until Peter thinks he is irrevocably trapped in the garden. But at last, by jumping up on a wheelbarrow, he sees the gate leading back to safety. He makes a heroic dash, with McGregor in hot pursuit, and in a ‘thrilling escape’ just manages to scramble out of the garden and back to the familiar, safe world of home and mother.
同样，小金发姑娘从家里冒险进入大森林的禁地，最终来到了三只熊的神秘房子。探索空荡荡的房子，里面有热气腾腾的粥碗和诱人的床，最初的兴奋感再次被熊回来时越来越强烈的威胁感所取代。当他们开始怀疑她的存在时，威胁感越来越近，直到最后他们发现小女主角睡在楼上：这时金发姑娘醒了，从窗户跳了出去，跑回了家。她母亲和家人的安全。
Similarly, little Goldilocks ventures out from home into the forbidden world of the great forest, where she eventually comes to the mysterious house belonging to the three bears. Again the initial excitement of exploring the empty house, with its steaming porridge bowls and inviting beds, gives way to a sense of growing menace as the bears return. As they begin to suspect her presence, the sense of threat comes nearer and nearer until finally they discover the little heroine asleep upstairs: at which moment Goldilocks wakes up, makes a ‘thrilling escape’ by jumping out of the window, and runs back to the safety of her mother and home.
当然，航海与归来的主题塑造的故事比这些简单的童年故事要复杂得多。在这里，我们转向第二类，其中此类故事是我们最熟悉的，这些故事涉及到已知世界之外的某个未被发现的领域的旅程。
But of course the Voyage and Return theme has shaped stories a good deal more complex than these simple versions of childhood. Here we move on to the second category in which such stories are most immediately familiar to us, those which involve a journey to some undiscovered realm beyond the confines of the known world.
在讲故事的历史上，几乎每一步我们都可以找到这种形式的航行和返回情节的版本。有著名的希腊、罗马、挪威和中世纪版本。在有记录的最早的故事《吉尔伽美什史诗》的最后一集中，甚至在英雄前往遥远而神秘的乌特纳皮什蒂姆土地的旅程中，也有强烈的航行和回归元素（尽管这也是探索的一种形式，因为他正在寻找永生的秘密）。但这种故事在文艺复兴之后的西方文学中变得更加明显，在欧洲大航海时代，足迹遍及全球各个角落：从十八世纪开始尤其如此。
We can find versions of this form of the Voyage and Return plot at almost every step along the history of storytelling. There were well-known Greek, Roman, Norse and mediaeval versions. There is even a strong Voyage and Return element in the closing episode of the earliest story ever recorded, the Epic of Gilgamesh, in the hero’s journey to the far-off and mysterious land of Utnapishtim (although this is also a form of Quest, since he is seeking the secret of immortality). But this kind of tale became noticeably more evident in Western literature after the Renaissance, during the age of the great European voyages of discovery to every corner of the globe: and this was particularly true from the eighteenth century onwards.
同样，这些故事通常分为两种主要类型：英雄被困在某个或多或少荒芜的岛屿上的故事；他所访问的土地是一些奇怪的人或文明的家园。
Again these stories fall generally into two main types: those where the hero is marooned on some more or less deserted island; and those where the land he visits is the home of some strange people or civilisation.
十八世纪初，此类故事中最著名的两篇故事在几年内相继出版：每一类各一篇。
In the early eighteenth century, two of the most famous of such stories were published, within a few years of each other: one in each category.
第一个发生在 1719 年，是所有“荒岛”故事的典范—— 《鲁宾逊漂流记》。1笛福小说的情节遵循了现在熟悉的模式。作为一名年轻的水手，他的船失事了，英雄突然发现自己独自一人在一个看似荒芜的热带岛屿上。故事的前半部分，在克鲁索从最初的震惊中恢复过来之后，随着他接受自己的困境和陌生的新世界的简单奇迹（例如，发现自己种植玉米和玉米的能力），他日益增长的信心主导了故事的前半部分。烤面包）。然后，当他看到一个奇怪的人脚印记时，阴影闯入（不是，正如人们普遍错误回忆的那样，是“星期五”的脚印）。当鲁滨逊意识到他在岛上可能并不孤单时，他开始感受到一种威胁感，当他发现他的小王国实际上经常有一群食人者来进行他们可怕的活动时，这种威胁感变得越来越严重。故事的后半部分主要是克鲁索为保护自己而采取的措施；他逐渐招募了一小群逃亡者（星期五是第一支）；最后，作为故事的高潮，他带领追随者与停泊在近海的葡萄牙船上的叛变水手进行了一场成功的战斗。当感激的船长带他离开岛屿并返回文明世界时，他的快乐获释达到了顶峰。
The first, in 1719, was that paradigm of all ‘desert island’ stories, Robinson Crusoe.1 The plot of Defoe’s novel follows the now familiar pattern. As a young sailor whose ship is wrecked, the hero suddenly finds himself all alone on a seemingly deserted tropical island. The first half of the story, after Crusoe has recovered from the initial shock, is dominated by his growing confidence as he comes to terms with his plight and with the simple wonders of his unfamiliar new world (e.g., discovering his ability to grow corn and bake bread). Then a shadow intrudes, when he sees the imprint of a strange human foot (not, as is popularly mis-recalled, that of Man Friday). As Crusoe realises that he may not be alone on the island, he begins to experience a sense of threat, which grows progressively more acute as he finds that his little kingdom is in fact regularly visited by bands of cannibals to pursue their horrid practices. The second half of the story is dominated by the measures Crusoe takes to protect himself; by his gradual recruitment of a little army of runaways (Friday being the first); and finally, as the climax of the tale, by leading his followers into a successful battle against the mutinous sailors on a Portugese ship which has anchored offshore. This culminates in his joyful release, when the grateful captain takes him off the island and back to civilisation.
与文明隔绝的漂流者的主题如此吸引了欧洲人的想象力，以至于笛福的小说在许多国家都找到了模仿者（在德国，此类故事被称为“罗宾逊主义”）；荒岛类型一直延续到二十世纪，从 JM Barrie 的喜剧《令人钦佩的克莱顿》（1902 年）到威廉·戈尔丁的《The Lord of the Lord of the South苍蝇（1954）。这是《航海与归来》情节的典型例子，描述了一群年轻的英国中上层阶级男学生因飞机失事被困在荒岛上的故事。在经历了最初一段相当乖巧的兴奋之后，他们逐渐堕落为嗜血的野蛮人，直到噩梦达到凶残的高潮，当他们被皇家海军奇迹般地营救时，他们又被拉回正常世界。
The theme of the castaway or castaways cut off from civilisation so seized the European imagination that Defoe’s novel was to find imitators in many countries (in Germany such tales were known as ‘Robinsonismus’); and the desert island genre continued into the twentieth century, in examples ranging from J. M. Barrie’s comedy The Admirable Crichton (1902), about an upper-class family and their servants wrecked on an island in the South Seas, to William Golding’s The Lord of the Flies (1954). This is a model example of the Voyage and Return plot, with its description of a group of young, upper-middle-class English schoolboys marooned on a desert island by a plane crash. After an initial period of reasonably well-behaved excitement they gradually degenerate into bloodthirsty savages until, just as the nightmare has reached its murderous climax, they are plucked back to the normal world when they are miraculously rescued by the Royal Navy.
这两类航行和归来故事中的另一类，描述英雄访问一些奇怪的、未知的文明，在鲁宾逊漂流记七年后，随着 1726 年斯威夫特的《格列佛游记》的出版，找到了其最著名的表达方式之一（尽管这也有其前身，例如托马斯·莫尔 (Thomas More) 在 1513 年对水手拉尔夫·希斯洛迪 (Ralph Hythloday) 的访问进行了描述。想象中的乌托邦）。雷米尔·格列佛的旅行由不少于四次航行组成，每次航行都前往一个充满怪诞和奇迹的独立之地：最著名的当然是前往小人国和布罗布迪纳格的航行。这两集都遵循经典的航行和返回模式，当英雄意识到自己被困住时，他最初的惊奇感变成了挫败感。在小人国，当他在国王宫殿里撒尿，帮助扑灭了一场大火时，当地的小居民最终转而反对他。格列佛受到失明和死亡的威胁，在千钧一发之际才成功逃脱，首先逃到邻国布莱费斯库，然后又回到欧洲。从布罗布迪格纳格，格列佛变成了巨人的小玩物，当他的“旅行箱”（他的俘虏者带着他四处走动）时，他的逃脱更加戏剧化。
The other of these two categories of Voyage and Return stories, that which describes the hero’s visit to some strange, unknown civilisation, found one of its most notable expressions just seven years after Robinson Crusoe with the publication in 1726 of Swift’s Gulliver’s Travels (although this too had its precursors, such as Thomas More’s account in 1513 of the visit of the mariner Ralph Hythloday to the imaginary country of Utopia). The travels of Lemuel Gulliver are made up of no fewer than four voyages, each to a separate land of freaks and marvels: the most famous of course being those to Lilliput and Brobdignag. Both episodes follow a classic Voyage and Return pattern, with the hero finding his initial sense of wonder turning to frustration as he realises that he is trapped. In Lilliput the tiny inhabitants finally turn against him when he helpfully puts out a fire in the king’s palace by urinating on it. Gulliver is threatened with blinding and death, and only manages to escape in the nick of time, first to the neighbouring kingdom of Blefescu, then back to Europe. From Brobdignag, where Gulliver becomes the tiny plaything of giants, his escape is even more dramatic when his ‘travelling box’, in which his captors carry him about, is picked up by a monstrous eagle and dropped into the sea, from where he is rescued by a passing ship.
十八世纪，随着对南半球的发现航行，对航行和返回故事文学做出了特别显着的贡献，另一个令人难忘的例子是柯勒律治的《古代水手诗》（1797）。这位白胡子老水手英雄讲述了许多年前，他如何开始了一次令人兴奋的航行，进入了未被探索的南大洋（“我们是第一个冲进那片寂静的海洋的人”），以及他们如何发现了最伟大的奇迹巨大而美丽的白色信天翁跟随在他们的船后面。但后来，在一个鲁莽的时刻，水手射杀了信天翁，这给整个航行带来了可怕的诅咒。船上一片平静，海怪的可怕景象笼罩在其中。最后，另一艘船的幽灵景象接近了，里面载着死亡和她的伴侣。水手看到他的船员们都因饥饿和干渴而一一死去。然后，就在一切似乎都消失了的时候，水手低头看到一大群海蛇在船周围爬行。当他看到除了自己之外仅存的生物时，他非常感动，并大声为它们祝福。船又恢复了幽灵般的生活，一阵神秘的风吹起，把它带回到家的可见范围内；然后船沉没了，水手被带到岸上，半死不活，但对自己的罪行感到悔恨。2
The eighteenth century, with its voyages of discovery to the southern hemisphere, made a particularly notable contribution to the literature of Voyage and Return stories, another haunting example being Coleridge’s Rime of the Ancient Mariner (1797). The greybearded old sailor-hero tells of how, many years before, he had gone on an initially exhilarating voyage into the unexplored southern ocean (‘we were the first that ever burst into that silent sea’), and how the greatest marvel they found there was the huge, beautiful white albatross which followed their ship. But then, in a reckless moment, the mariner had shot the albatross, at which a terrible curse had fallen over the voyage. The ship is becalmed, amid terrifying visions of sea monsters. Finally a spectral vision of another ship approaches, containing Death and her mate. The mariner see his shipmates all die, one by one, of hunger and thirst. Then, just when all seems lost, the mariner is looking down at a mass of sea-snakes crawling around the ship. He is so moved by the sight of the only living creatures left apart from himself that he croaks out a blessing on them. The ship returns to ghostly life, and a mysterious wind springs up, carrying it back within sight of home: at which point it sinks, leaving the mariner to be carried to shore, half-dead, but repentant of his crime.2
到了十九世纪，随着地球表面未被探索的地方越来越少，作者们不得不越走越远，寻找远航和返回所必需的陆地环境。故事。塞缪尔·巴特勒 (Samuel Butler) 想象中的埃里洪 ( Erewhon )国家（1872 年）位于新西兰一片未经探索的山脉的远端。二十世纪，柯南·道尔的《失落的世界》（1912）以亚马逊丛林中的一个奇怪的高原为背景，由于地质怪异而将这里与“正常”世界的其他部分隔离开来，使这里成为了一个仍然居住着恐龙和人类的仙境。原始穴居人。在斯科特·菲茨杰拉德的《与丽兹酒店一样大的钻石》中（1922），这位年轻的英雄踏上了落基山脉一个偏远、戒备森严的山谷的旅程（“这个国家唯一从未被勘察过的五平方英里的土地”），他的主人住在一颗钻石的顶部如此之大，使他成为“有史以来最富有的人”。詹姆斯·希尔顿在《消失的地平线》（1933）中将他想象中的天堂香格里拉设定在喜马拉雅山一个偏远、封闭的山谷中，那里没有人会变老。
By the nineteenth century, as fewer and fewer places on the earth’s surface remained unexplored, authors were having to push further and further afield to find terrestrial settings with the necessary remoteness for Voyage and Return stories. Samuel Butler’s imaginary country of Erewhon (1872) was situated on the far side of an unexplored range of mountains in New Zealand. In the twentieth century, Conan Doyle’s The Lost World (1912) was set on a strange plateau in the Amazonian jungle, isolated from the rest of the ‘normal’ world by a geological freak which had preserved it as a wonderland still inhabited by dinosaurs and primitive cavemen. In Scott Fitzgerald’s The Diamond as Big as The Ritz (1922), the young hero made his journey into a remote, closely guarded valley in the Rocky Mountains (‘the only five square miles of land in the country which has never been surveyed’), where his host lived on top of a diamond so big that it made him ‘the richest man that ever lived’. James Hilton in Lost Horizon (1933) set his imaginary paradise of Shangri-La, where no one grew old, in a remote, sealed-off valley in the Himalayas.
但其他作者已经采取了更具想象力的步骤来克服地球表面此类环境日益减少的问题。儒勒·凡尔纳将他最著名的一次航行和返回冒险故事设定在地表深处的一个虚构的地下世界（《地心之旅》，1864年），几年后，另一次冒险故事设定在海面以下（《20,000里海下》）海，1872）。HG 威尔斯在《时间机器》中找到了更戏剧性的解决方案（1895），将他的英雄带离熟悉的世界，不是从地理上而是从时间上。时间旅行者发明了一台机器，将他传送到 80 万年的未来，在那里他发现了像孩子一样的小埃洛伊，住在宫殿里，周围充满了奇异的异国鲜花和水果。但随后熟悉的影子闯了进来。他逐渐意识到这个世界上居住着另一个半人类种族，邪恶的莫洛克人，他们住在地下，讨厌光明，晚上出来捕食手无寸铁的埃洛伊作为食物。故事进入了熟悉的噩梦高潮，英雄被一群可怕的夜间生物追赶，差点被抓住，在千钧一发之际才设法爬回他的机器，回到他离开的安全的维多利亚世界。 。
But already other authors had taken still more imaginative steps to surmount the shrinking availability of such settings on the face of the globe. Jules Verne set one of his most famous Voyage and Return adventures in an imaginary underworld deep below the earth’s surface (Journey to the Centre of the Earth, 1864) and another, a few years later, below the surface of the sea (20,000 Leagues Under the Sea, 1872). H. G. Wells found a still more dramatic solution in The Time Machine (1895), taking his hero out of the familiar world in terms not of geography but of time. The Time Traveller invents a machine which transports him 800,000 years into the future, where he discovers the little, child-like Eloi, living in palaces in a seemingly paradisal landscape full of strange, exotic flowers and fruits. But then the familiar shadow intrudes. He gradually becomes aware that there is another semi-human race inhabiting this world, the sinister Morlocks who live underground, hating the light and coming up at night to prey on the defenceless Eloi for their food. The story winds to a familiar nightmare climax when the hero is chased and nearly caught by a gang of these horrible night-creatures, only managing in the nick of time to scramble back onto his machine, to return to the safe Victorian world he had left.
当然，在二十世纪，无数作家沿着凡尔纳和威尔斯开创的道路进一步冒险，让他们的英雄不仅在时间上旅行，而且更频繁地前往其他行星和宇宙更遥远的地方。事实上，促成“科幻小说”出现的一个主要因素只是讲故事的人需要在一个过度探索的世界中寻找替代的或不熟悉的世界来设置航行和返回的故事。因为这个情节的本质是它的中心人物与未知的对抗，这似乎是不正常的，因为它与他或她自然居住的熟悉的世界形成鲜明对比，并与之隔绝。
In the twentieth century, of course, countless authors were to venture still further along the path pioneered by Verne and Wells, setting their heroes travelling not just in time, but more frequently to other planets and still more remote parts of the universe. In fact a major factor contributing to the emergence of ‘science fiction’ was simply the need of storytellers in an over-explored world to find alternative or unfamiliar worlds in which to set Voyage and Return stories. For the essence of this plot is its central figure’s confrontation with the unknown, that which seems abnormal precisely because it is in such contrast to and so cut off from the familiar world he or she naturally inhabits.
社会的航行与回归
The social Voyage and Return
到目前为止，我们几乎完全从英雄或女主人公进入一个陌生世界进行某种身体旅行的故事来看待《远航与归来》的故事。
We have so far looked at Voyage and Return stories almost entirely in terms of those where the hero or heroine makes some kind of physical journey into an unfamiliar world.
这个情节还有其他不太明显的版本，其中的旅程是一种相当不同的类型：例如，它将中心人物带入一个不熟悉的社会环境。伊芙琳·沃 (Evelyn Waugh) 是一位对此类情节特别着迷的作家，她的几部最著名的小说都是以航海与回归为主题的。一个相当传统的例子，与我们已经看过的例子没有什么不同，因为它涉及到另一个国家的实际旅行，是《勺子》（1938）（它也有白手起家的元素，展示了它的默默无闻的小英雄，一个害羞的人如何自然笔记作家，最终完成了令人惊叹的新闻独家新闻并成为民族英雄）。
There are other, less obvious versions of this plot where the journey is of a rather different kind: as where, for instance, it takes its central figure into an unfamiliar social milieu. An author particularly drawn to this type of plot was Evelyn Waugh, several of whose best-known novels are shaped by the Voyage and Return theme. A fairly conventional example, not dissimilar to those we have already looked at in that it involves a physical journey into another country, is Scoop (1938) (which also has a Rags to Riches element, in showing how its obscure little hero, a shy writer of nature notes, finally pulls off an amazing journalistic scoop and becomes a national hero).
沃的第一部小说《衰落》然而，（1928）是一个可以被称为纯粹“社会”航行和返回故事的例子。保罗·彭尼菲瑟（Paul Pennyfeather）是一名迟钝、普通的本科生，当他无助地陷入上层阶级争吵的后果并被牛津大学开除时，他突然发现自己从舒适、单调的生活中被驱逐出去。他首先发现自己置身于拉纳巴破旧的私立学校的半怪诞之中，然后被卷入了玛格特·贝斯特·切特温德的更加陌生和更具异国情调的世界，玛格特·贝斯特·切特温德是一位非常富有的上层阶级“年长的女人”，她有点令人难以置信地决定她想嫁给他。就像爱丽丝或时间旅行者或《远航与回归》故事中的许多其他中心人物一样，彭尼羽陷入了很大程度上超出他控制范围的事件中——一个令人困惑的梦想，当他被判有罪时，最终变成了噩梦，不知不觉中，他成为了贝斯特-切特温德夫人的国际“白人奴隶”集团的特工。他被送进监狱，被前未婚妻救出并接受手术，这给了他新的身份。他最终以不同的名字回到了牛津，回到了故事开始时他被拉出来的那种枯燥、匿名的学生生活。
Waugh’s first novel, Decline and Fall (1928), however, was an example of what may be called a purely ‘social’ Voyage and Return story. Paul Pennyfeather, a dull, ordinary undergraduate, suddenly finds himself ejected from his cosy, humdrum existence when he is helplessly caught up in the consequences of an upper-class brawl and sent down from Oxford. He first finds himself among the semi-grotesques of the seedy private school of Llanabba, and is then swept up into the even stranger and more exotic world of Margot Best-Chetwynde, a fabulously rich upper-class ‘older woman’ who somewhat implausibly decides she wants to marry him. Like Alice or the Time Traveller or many other central figures in Voyage and Return stories, Pennyfeather is caught up in events largely beyond his control – a bewildering dream which eventually turns to nightmare when he is convicted of having, quite unwittingly, been an agent in Mrs Best-Chetwynde’s international ‘white slave’ ring. He is sent to prison, whence he is rescued by his now ex-fiancée to undergo an operation which gives him a new identity. He ends up returning to Oxford under a different name, to sink back into exactly the kind of dull, anonymous student existence from which he had been plucked at the start of the story.
二十年后，在沃的《故园重游》中，从某些方面来说，这个故事有一个相似的版本，尽管更为成熟。（1945）。查尔斯·赖德（Charles Ryder）是一位相当普通的中产阶级牛津大学本科生，他突然发现自己从单调的日常生活中抽离出来，进入了一个充满异国情调的上流社会世界，这一次是塞巴斯蒂安·弗莱特勋爵和他家族的大房子布赖德斯黑德（Brideshead）的世界。随着塞巴斯蒂安陷入无法治愈的酗酒，莱德最初被引入这个浪漫的另一个世界时的兴奋逐渐被掩盖。当查尔斯与塞巴斯蒂安的妹妹朱莉娅开始恋情时，他的第二个“梦想阶段”又被唤醒。随着朱莉娅的父亲马奇梅因伯爵的去世，这件事也随之变得黯然失色，朱莉娅拒绝继续她计划中的与查尔斯的婚姻。因此，英雄被拒绝了，永远离开了故园的“童话世界”——直到在完全不同的情况下，
In some ways a similar, though much more developed version of this story came twenty years later in Waugh’s Brideshead Revisited (1945). Again a fairly ordinary middle-class Oxford undergraduate, Charles Ryder, finds himself abruptly plucked out of his humdrum routine into an exotic upper-class world, this time that of Lord Sebastian Flyte and his family’s great house Brideshead. Ryder’s initial exhilaration at being introduced to this romantic other-world is gradually overshadowed as Sebastian slides into incurable alcoholism; only to be revived by a second ‘dream stage’ when Charles embarks on a love-affair with Sebastian’s sister Julia. This in turn becomes shadowed as Julia’s father, the Earl Marchmain, dies, and Julia refuses to go ahead with her planned marriage to Charles. Thus rejected, the hero leaves the ‘faery world’ of Brideshead forever – until, in totally different circumstances, he unexpectedly finds himself back at the house as an army officer in World War Two, and recalls his Voyage and Return experience in a prolonged flashback.
这种由记忆激活引发并通过某种闪回传达的“对过去时光的追忆”，作为《远航与归来》故事的框架并不陌生。LP Hartley 的《The Go-Between 》（1953）的开场白甚至明确地将回到过去的旅程与进入另一个国家之间进行类比：他们在那里做事的方式不同'。这是老年叙述者对社会航行的回忆的序言60年前，他还是一个来自不太富裕家庭的中产阶级小男孩，在一个漫长而炎热的暑假期间，他去诺福克自家庄园里与一位富有的上层阶级同学住在一起。 。男孩利奥在被引入这样一个陌生、宏伟、成熟的世界时，最初感到羞涩的兴奋，但随着他无助地充当中间人，卷入了这座房子的女儿玛丽安和她的秘密恋情，他变得越来越阴暗。英俊的下层情人住在一英里外的一间简陋小屋里。当热浪在一场巨大的雷雨中爆发时，故事进入了噩梦般的高潮，玛丽安可怕的母亲在外屋发现了这对不幸的恋人，当场作案。半丢脸的小英雄被硬生生地打发回家了，
Such a ‘remembrance of times past’, prompted by the activation of memory and conveyed through some kind of flashback, is not unfamiliar as the framework for a Voyage and Return story. The analogy between a journey into the past and one into another country is even made explicit in the opening lines of L. P. Hartley’s The Go-Between (1953): ‘the past is a foreign country; they do things differently there’. This serves to preface the aged narrator’s recollection of the social Voyage and Return he had made 60 years before when, as a little middle-class schoolboy from a not very prosperous home, he had gone to stay with a rich, upper-class schoolfriend on his family’s estate in Norfolk during a long, hot summer holiday. The boy Leo had found his initial shy exhilaration at being introduced to such a strange, grand, grown-up world increasingly shadowed as he becomes helplessly involved as a go-between in the secret affair between the daughter of the house, Marian, and her handsome, lower-class lover living in a humble cottage a mile away. The story had wound to a nightmarish climax when, as the heatwave broke in an immense thunderstorm, Marian’s fearsome mother discovered the hapless lovers in an outhouse, in flagrante delicto. The semi-disgraced little hero had been abruptly packed off home, expelled from this wonderland for ever (until, 60 years later, he returns to meet Marian, now an old woman who, after the scandal, had never married).
电影《第三人》讲述了以另一种外星社会环境为背景的航行和返回故事（1948），由格雷厄姆·格林编剧。西部片作家霍利·马丁斯在战后盟军占领期间前往半废墟的维也纳寻找他的老同学哈利·莱姆。他震惊地发现他的老朋友刚刚被杀并被神秘地埋葬。但他越是试图从他在维也纳遇到的奇怪人群中揭开发生的事情，从莱姆的肮脏、神秘的朋友和他神秘的前情妇安娜到简洁的英国宪兵卡洛韦，马丁斯就越感到困惑。他陷入了航海英雄的常见困境，感觉自己陷入了某种奇怪的、不真实的梦境世界，那里的每个人都比他知道得更多。然后，梦想开始变成噩梦，事实证明莱姆不仅因为在致命的稀释青霉素中进行特别肮脏的勾当而逃离当局，而且他仍然神秘地活着。最终，马丁斯与莱姆取得了联系，当他们在巨大的游乐场轮子上交谈时，马丁斯对哈利为自己的犯罪活动辩护的愤世嫉俗的无情感到震惊。马丁斯还爱上了莱姆昔日的情妇、神秘的安娜，并被卡洛韦拉入一场代表当局陷害他的老朋友的阴谋。故事在维也纳下水道昏暗的隧道中的追逐中达到了噩梦般的高潮，马丁斯射出了最后一枪，而他的朋友的手指则从下水道井盖的格栅中抓紧新鲜空气和生命。当莱姆的尸体最终被真正埋葬时，故事就结束了，这意味着，在经历了如此可怕的经历之后，马丁斯现在将回到他正常、单调的生活，尽管我们在结尾和开头都没有看到这一点。这个故事的框架很简单，就是他进入和离开外星世界。
A Voyage and Return story set in an alien social milieu of a different kind was the film The Third Man (1948), scripted by Graham Greene. The hero Holley Martins, a writer of Westerns, travels to the half-ruined city of Vienna during the post-war Allied occupation, to track down his old school friend Harry Lime. He is shocked to discover that his old friend has just been killed and buried in mysterious circumstances. But the more he tries to uncover what happened from the bizarre assemblage of people he meets in Vienna, ranging from Lime’s seedy, mysterious friends and his enigmatic former mistress Anna to the laconic British military police officer Calloway, the more puzzled Martins becomes. He is here in a common predicament of the Voyage and Return hero, feeling he has been caught up in some strange, unreal dream world where everyone knows more than he does. The dream then begins to turn to nightmare when it turns out that Lime had not only been on the run from the authorities, for running a particularly nasty racket in deadly watered-down penicillin, but that he is still mysteriously alive. Eventually Martins makes contact with Lime and, when they talk on the great fairground wheel, is shocked by the cynical heartlessness with which Harry justifies his criminal activities. Martins has also fallen in love with Lime’s erstwhile mistress, the enigmatic Anna, and is drawn by Calloway into a plot to trap his old friend on behalf of the authorities. The story winds to its nightmare climax in the chase through the half-lit tunnels of the Vienna sewers, with Martins firing the last fatal shot as his friend’s fingers clutch for fresh air and life through the grille of a manhole cover. As Lime’s body is at last genuinely buried the story ends, with the implication that, after such a horrific experience, Martins will now return to his normal, humdrum existence, although we no more see this at the end than at the beginning. The story is framed simply by his entrance to and exit from the alien world.
最后，我们必须考虑航行和返回故事的另一种形式，其中英雄进入陌生领域的程度可能看起来比我们迄今为止所看到的地理或社会旅程更加极端。在这种故事中，主人公暂时经历了外在身份的彻底改变，但仍保留着自己的新形象。一个著名的例子是 F. Anstey 的维多利亚时代小说《反之亦然》（ Vice Versa，1882 年），其中一位父亲他和他的学童儿子神奇地改变了外在身份，每种情况都可能带来灾难性的后果。但早在这之前，这种形式就已经在所有《航海与归来》故事中最深刻的故事之一中得到了更认真的使用，其中英雄发现自己变成了一只动物。
We must finally consider one more form of the Voyage and Return story, where the degree of the hero’s translation into an unfamiliar realm might seem even more extreme than in the geographical or social journeys we have looked at so far. This is the kind of story where the hero temporarily undergoes a complete change of outward identity, while remaining himself behind his new persona. A well-known example was F. Anstey’s Victorian novel Vice Versa (1882), in which a father and his schoolboy son magically switch outward identities, with potentially catastrophic results in each case. But long before this such a form had already been used rather more seriously in one of the most profound of all Voyage and Return stories, in which the hero finds himself turned into an animal.
卢修斯（Lucius），新柏拉图寓言《金驴》中的英雄，由罗马北非作家阿普列乌斯于公元二世纪撰写，是一个痴迷于性和神秘学的年轻人。他踏上了前往黑魔法之乡塞萨利的旅程，在那里他在一位著名女巫的家里找到了住处，并与她美丽的女奴福蒂斯展开了一段令人陶醉的恋情。但卢修斯也有一种偷窥欲，想要秘密监视她的情妇，为此，他要求福蒂斯用魔法把他变成一只鸟。咒语出了严重的错误。她误将他变成了一头驴子，几乎立刻就被一伙强盗偷走了。看来卢修斯现在被困在他的新角色中，没有逃脱的希望。在经历了一系列可怕的冒险之后，他被卖给了一位马戏团老板，马戏团老板准备让他公开表演与一名人类凶手做爱。卢修斯发现这种前景比他必须面对的任何事情都更可怕，尤其是因为他怀疑，当场面达到高潮时，马戏团老板会在舞台上放出一只野兽，将他和那个女人撕成碎片（“我不仅对自己扮演的不光彩的角色感到震惊。我还害怕死亡” ）。千钧一发之际，他成功逃脱。在“惊心动魄的逃亡”之后，他精疲力尽地躺在海滩上，在月光下醒来，看到女神伊希斯从海中升起，“她的脸是如此可爱，众神自己都会在崇拜中倾倒”。她告诉他，她是“自然，宇宙之母，所有元素的情妇……所有精神事物的主权……所有男神和女神的唯一体现”。在她的指示下，他参加了一场盛大的宗教仪式以纪念她，并感到他的屁股正在融化。他又变成了人类。
Lucius, the hero of the neo-Platonic allegory The Golden Ass, written by the Roman North African author Apuleius in the second century AD, is a young man obsessed with sex and the occult. He goes on a journey to Thessaly, home of the black arts, where he finds lodgings in the house of a well-known sorceress and embarks on a heady affair with her beautiful slave girl Fotis. But Lucius also has a voyeuristic craving to spy secretly on her mistress, and to do this he asks Fotis to turn him by magic into a bird. The spell goes horribly wrong. She turns him by mistake into an ass, which is almost immediately stolen by a gang of robbers. It seems Lucius is now trapped in his new persona with no hope of escape. After a series of frightening adventures he is sold to a circus owner, who prepares to put him on public show making love to a human murderess. Lucius finds this prospect more horrifying than anything he has yet had to face, not least because he suspects that, as the spectacle reaches its climax, the circus owner will release onto the stage a wild beast to tear both him and the woman to pieces (‘I was not only appalled at the disgraceful part I was to play. I was in terror of death’). In the nick of time, he manages to run away. Lying exhausted on a beach after his ‘thrilling escape’, he awakens in moonlight to see a shining vision of the goddess Isis rising from the sea, ‘with so lovely a face the gods themselves would have fallen down in adoration of it’. She tells him she is ‘Nature, the universal Mother, mistress of all the elements ... sovereign of all things spiritual ... the single manifestation of all the gods and goddesses there are’. On her instructions, he attends a great religious ceremony in her honour, and feels his ass’s body melting away. He has become human again. As a result of his miraculous deliverance he remains a devoted follower of the cult of Isis, and the rest of the story (which we shall consider later in more detail) shows him being initiated into its deepest mysteries.
但首先我们必须更仔细地了解所有这些航行和返回故事的共同点。因为在其外在主题的非凡多样性背后，它们都在某种程度上描述着同样令人震惊的经历。
But first we must look rather more closely at what all these Voyage and Return stories have in common. For behind the extraordinary variety of their outward subject matter, they are all in a way describing the same shattering experience.
为了更深入地看待这个情节，我们必须考虑三个问题。首先，这些故事中的男女主角是如何进入他们的冒险发生的“另一个世界”的？第二，这个“另一个世界”的真实本质是什么？第三，当他们经历这个过程时，他们身上到底发生了什么？这对他们有何影响？
To see this plot in deeper perspective, we must consider three questions. First, how do the heroes or heroines of these stories get into this ‘other world’ where their adventures take place? Second, what is the real nature of this ‘other world’? Thirdly, what is really happening to them as they pass through it? How does it affect them?
将航行和返回故事的开头情绪与基于旅程的其他类型故事（探索）的开头情绪进行对比是有启发性的。总体而言，探索是一件更严肃、更有目的的事情。任务的英雄意识到他必须继续他的旅程。他被一种压倒性的强迫感所吸引。他知道他必须朝着一个特定的目标前进。
It is instructive to contrast the mood of the opening of a Voyage and Return story with that at the start of the other type of story based on a journey, the Quest. The Quest is altogether a more serious and purposeful affair. The hero of the Quest realises he has to go on his journey. He is drawn by an overwhelming sense of compulsion. He knows there is a specific goal he has to head for.
《远航与归来》故事中的英雄们没有这样的方向感。确实，在某些例子中，例如《拉塞拉斯》、《老实人》、《时光机器》、《失落的世界》，主人公在出发时有意识地寻找某些东西，我们可以将其称为此类故事中的“探索元素”。但更常见的情况是，这些英雄和女英雄所遭遇的冒险是完全出乎意料的。在某些情况下，他们确实陷入了困境。这只是发生在他们身上的事情。
The heroes of the Voyage and Return story have no such sense of direction. It is true that in some instances, such as Rasselas, Candide, The Time Machine, The Lost World, the hero is consciously looking for something when he sets out, and we may call this a ‘Quest element’ in such stories. But much more often the point is that the adventure these heroes and heroines stumble into is totally unexpected. In some instances quite literally they fall into it. It is something which just happens to them.
然而，与此同时，他们的心态也很容易发生这样的事情。他们可能只是感到无聊和昏昏欲睡，就像爱丽丝一样，睡着了，被梦带进了她的仙境。他们可能更积极地渴望一些消遣，就像《金屁股》中的卢修斯，或者《绿野仙踪》中的多萝西梦想着“彩虹之上的某个地方” ，或者《彼得潘》中的温迪和亲爱的孩子们。。他们可能仅仅因为天真、生活的局限性和意识而将自己暴露在戏剧性和不幸的事情降临到他们身上的风险中，就像老实人，或霍利·马丁斯，或沃的Pennyfeather。有意无意地，他们的共同点是，他们在心理上对一些令人震惊的新经历侵入并接管他们的生活持开放态度。
At the same time, however, they are very much in a state of mind which lays them open for such a thing to happen. They may be just be bored and drowsy, like Alice, who falls asleep and is carried away into her Wonderland by a dream. They may be rather more actively craving some diversion, like Lucius in The Golden Ass, or Dorothy dreaming of ‘somewhere over the rainbow’ in The Wizard of Oz, or Wendy and the Darling children in Peter Pan. They may have exposed themselves to the risk that something dramatic and untoward may befall them simply because of their naivety, the restricted nature of their lives and their awareness, like Candide, or Holley Martins, or Waugh’s Pennyfeather. Wittingly or unwittingly, what they have in common is that they are psychologically wide open for some shattering new experience to invade their lives and take them over.
《鲁滨逊漂流记》的开头几页给出了使航行和返回英雄陷入奇怪困境的心理状态的最完整的描述之一。。这些描述了年轻的鲁滨逊在父亲的教育下，如果他想要过上充实而幸福的生活，他既不应该走向上流社会，也不应该走向下层社会，而应该瞄准一个安全的“中间站”。生活，在对立面之间。他应该安定下来，有目标感：不要成为一个漫无目的的漂泊者，在世界各地徘徊，希望能有什么事情发生。鲁滨逊在海难后的反思中，意识到自己忽视了这一建议而出海，这在很大程度上影响了他的反思。即使在他的第一次航行中，他就差点被一场可怕的风暴淹没，并认为自己是浪子，冒着毁灭的危险，鲁莽地忽视了父亲的善意劝告。和所有《远航与回归》的英雄一样，他也有机会陷入某种非凡的境地，
One of the fullest pictures of the state of mind which allows a Voyage and Return hero to get into his strange predicament is that given in the opening pages of Robinson Crusoe. These describe how the young Crusoe was brought up by his father on the advice that if he wanted to live a full and happy life, he should head neither for the upper classes nor the lower, but should aim for a secure ‘middle station’ in life, between the opposites. He should settle down, have a sense of purpose: not become an aimless drifter, wandering about the world hoping that something would turn up. The realisation that he ignored this advice by going off to sea plays a large part in Crusoe’s subsequent introspection, after his shipwreck. Even on his first voyage, he is nearly drowned in a terrible storm, and sees himself as the Prodigal Son, risking destruction by having recklessly ignored his father’s kindly admonitions. Like all Voyage and Return heroes, he has laid himself open to the chance of falling into some extraordinary, unforeseen adventure: and eventually he does.
在《远航与归来》故事中发生的一些非常出乎意料的事情的第一个迹象在于男女主人公进入“另一个世界”的戏剧性本质。使他们陷入不正常世界的事件往往是令人震惊和暴力的。它可能是一次海难，就像《鲁宾逊漂流记》、《格列佛游记》、《暴风雨》、《令人钦佩的克莱顿》中那样；或飞机失事，如《蝇王》中那样。《爱丽丝梦游仙境》和《绿野仙踪》的女主角两人都有一种跌入“另一个世界”的感觉。当老实人被发现亲吻美丽的库内贡德时，他的背部被猛烈一踢，他实际上被推进了他的“另一个世界”。默默无闻的小学生彭尼羽突然发现自己被许多醉酒的上流社会流氓攻击。查尔斯·莱德（Charles Ryder）对他的“另一个世界”的介绍开始于，在类似的场合，塞巴斯蒂安·弗莱特勋爵（Lord Sebastian Flyte）突然从一楼的窗户探出身子，并在他的房间里剧烈呕吐。威尔斯笔下的时间旅行者，当他出发前往未来时，有一种身处之字形的感觉，而当他最终他的机器停止运转，机器翻倒，将他推入他自己版本的沉船事故中的“另一个世界”。温迪和同伴还发现他们飞往梦幻岛的飞行有点像之字形飞行，当他们着陆时，迎接他们的是震耳欲聋的海盗枪爆炸声。
The first indication that something very unexpected is happening in a Voyage and Return story lies in the dramatic nature of the hero or heroine’s entry into the ‘other world’. The event which precipitates them into the abnormal world is often shocking and violent. It may be a shipwreck, as in Robinson Crusoe, Gulliver’s Travels, The Tempest, The Admirable Crichton; or a plane crash, as in The Lord of the Flies. The heroines of Alice in Wonderland and The Wizard of Oz both have the sensation of falling into their ‘other world’ with a bump. Candide is literally propelled into his ‘other world’ by a violent kick on the backside, when he has been caught kissing the beautiful Cunegonde. The obscure little undergraduate Pennyfeather suddenly finds himself being debagged by a lot of drunken upper-class rowdies. Charles Ryder’s introduction to his ‘other world’ begins when, on a similar occasion, Lord Sebastian Flyte suddenly leans through his ground-floor window and is violently sick into his room. Wells’s time traveller, when he sets off into the future, has the sensation of being on a switchback, and when he finally stops his machine, it topples over, propelling him into the ‘other world’ in his own version of a shipwreck. Wendy and company also find their flight into the Never Never Land a bit like a switchback ride, and are greeted when they land by the deafening explosion of a pirate gun.
即使男女主人公并没有像字面上那样轰然登陆他们的“另一个世界”，但很明显，他们身上正在发生一些非常奇怪的事情。他们可能只是感觉到他们熟悉的世界的现实正在令人不安地溶解成其他东西，就像爱丽丝发现自己穿过镜子进入镜子世界一样；或者，惊恐的卢修斯感觉自己的手臂长出了毛，并意识到自己正在变成一头驴；或者《狮子、女巫和魔衣橱》中的孩子们穿过装满毛皮大衣的橱柜，发现自己从后面进入了纳尼亚白雪覆盖的森林。
Even when the heroes or heroines do not land in their ‘other world’ quite so literally with a bang, it is always clear that something very queer is happening to them. They may simply sense that the reality of their familiar world is disconcertingly dissolving into something else, as when Alice finds herself passing through the mirror into the Looking Glass world beyond; or the horrified Lucius feels his arms growing hairy, and perceives he is changing into a donkey; or the children in The Lion, the Witch and the Wardrobe push their way through a cupboard full of fur coats and find themselves emerging from the back into the snow-covered forest of Narnia.
当然，从一个世界穿越到另一个世界的经历令人不安也就不足为奇了，因为“另一个世界”的定义就是它是完全陌生和陌生的——而男女主角被困在其中。他们与离开的熟悉世界不可挽回地隔绝，现在必须弄清楚他们无意中进入的这个新世界的奇怪本质。
Of course it is hardly surprising that the experience of passing over from one world to another is disconcerting, because the very definition of the ‘other world’ is that it is totally strange and unfamiliar – and that the hero or heroine is trapped in it. Irrevocably cut off from the familiar world they have left, they now have to puzzle out the strange nature of this new world into which they have stumbled.
当我们说“另一个世界”不正常时，我们到底在说什么？我们的正常感，甚至是真实的感觉，在很大程度上当然是由我们熟悉的事物决定的。我们通过一个整体框架来理解世界，这个框架主要是无意识地假设什么是正常的，基于我们习惯的一切——社会、文化、道德、地理和物理，在规模、空间和时间方面。这些东西在赋予我们外在世界认同感、告诉我们自己是谁方面发挥着核心作用。《远航与归来》故事的要点在于，在某些重要方面，它将男女主人公带出了熟悉的框架。它消除了他们的现实感和身份感的一些关键定义点，
When we say the ‘other world’ is abnormal, what precisely do we mean? Our sense of normality, even of what is real, is to an enormous extent of course governed by what is familiar to us. We make sense of the world through a whole framework of largely unconscious assumptions of what is normal, based on everything we are used to – socially, culturally, morally, geographically and physically, in terms of scale, space and time. Such things play a central part in giving us our sense of outward identity in the world, telling us who we are. And the whole point of the Voyage and Return story is that, in some important respect, it takes the hero or heroine out of that framework of the familiar. It takes away some crucial defining point for their sense of reality and identity, which is why so many of their adventures are experienced as a kind of disconcerting and unreal dream.
这些故事以某种方式对男女主角的正常意识进行了各种可能的排列，甚至就我们对人类身份所做的最基本的假设而言也是如此。例如，爱丽丝和格列佛都发现自己对世界的正常看法因经历了相对大小的怪异变化而扭曲：爱丽丝是因为她自己神奇地变高变矮，格列佛是因为他发现周围的人要么异常微小，要么异常巨大。同样，时间旅行者也会经历我们正常时间坐标的悬浮（另一个威尔斯航行和返回冒险的英雄，新加速器），发现他正常的时间体验以另一种方式扭曲，一种新药使他的思想和身体的所有运作速度加快了数千倍，以至于他看到周围的一切和其他人都僵住了。卢修斯突然不得不在驴子的身体上体验它，他对世界的正常视角的整个中心被打了六分。鲁滨逊漂流记和“荒岛”情节中的其他英雄以另一种方式失去了身份坐标，发现自己被从熟悉的社会约束和框架中夺走了。进入一个所有正常社会假设都被颠倒过来的世界（例如，令人钦佩的克莱顿，在岛上失事的团体的自然领导者原来是上层阶级家庭足智多谋的管家，他逐渐承担了“统治着他所有的漂流同伴。
One way or another these stories work every conceivable permutation on their heroes’ and heroines’ sense of what is normal, even in terms of the most basic assumptions we make about our identity as human beings. Both Alice and Gulliver, for instance, find their normal perspective on the world distorted by experiencing grotesque alterations in their relative size: Alice because she herself grows magically taller and shorter, Gulliver because he finds the people around him are either abnormally tiny or abnormally huge. Similarly the time traveller experiences a suspension of our normal co-ordinates of time (the hero of another Wells Voyage and Return adventure, The New Accelerator, finds his normal experience of time distorted in another way, when a new drug speeds up all the workings of his mind and body by thousands of times, so that he sees everything and everyone else around him frozen grotesquely still). Lucius has his whole centre of normal perspective on the world knocked for six by suddenly having to experience it in the body of an ass. Robinson Crusoe and the other heroes of ‘desert island’ versions of the plot lose their co-ordinates of identity in yet another way, finding themselves snatched out of the familiar constraints and framework of society into a world where all normal social assumptions are turned topsy-turvy (e.g., The Admirable Crichton, where the natural leader of the group wrecked on the island turns out to be the upper-class family’s resourceful butler, who gradually assumes the role of ‘king’ over all his fellow-castaways.
在这个“另一个世界”中，同样令人震惊的是与那些已经居住在这个世界中、以如此不同的价值观生活的人们的对抗。这就是为什么男女主人公的大部分时间都花在试图解开他们的生活方式和他们所说的话所带来的谜语上：就像爱丽丝对她的两个孩子中几乎每个人都在谈论的字面谜语和废话感到困惑一样。其他世界”，或者弗莱特家族无处不在且看似不合逻辑的罗马天主教信仰的不可知论者查尔斯·莱德。
Equally shattering in this ‘other world’ is the confrontation with those who already inhabit it, and who live by such different values; which is why much of the hero or heroine’s time may be spent in trying to puzzle out the riddles posed by how they live and what they say: as when Alice is baffled by the quite literal riddles and nonsense talked by almost everyone in her two ‘other worlds’, or the agnostic Charles Ryder by the Flyte family’s all-pervasive and seemingly illogical Roman Catholicism.
“另一个世界”最初似乎充满了诱人的希望。当爱丽丝探索她掉进去的洞时，她第一眼看到了她即将进入的仙境：
The ‘other world’ may initially seem to be full of beguiling promise. As Alice explored the hole she had plunged into, she caught her first glimpse of the wonderland she was about to enter when:
“她看到了一扇她以前没有注意到的低矮的窗帘，窗帘后面有一扇小门……她跪下来，沿着通道望向你所见过的最美丽的花园。” 她多么渴望走出那个黑暗的大厅，在那些开满鲜艳花坛和凉爽喷泉的地方漫步。
‘she came across a low curtain she had not noticed before, and behind it was a little door ... she knelt down and looked along the passage into the loveliest garden you ever saw. How she longed to get out of that dark hall and wander about among those beds of bright flowers and those cool fountains.’
当查尔斯·莱德 (Charles Ryder) 开始接受迷人古怪的塞巴斯蒂安勋爵 (Lord Sebastian) 的第一次午餐邀请时，他说道：
As Charles Ryder set off to his first lunch invitation from the glamorously eccentric Lord Sebastian, he went:
“充满了好奇心和一种微弱的未被意识到的忧虑，我终于在这里找到了墙上的那扇低矮的门，我知道，其他人在我之前发现了它，它通向一个封闭的迷人花园，它在某个地方，不容忽视在这座伟大城市的中心，从任何一扇窗户都能看到。”
‘full of curiosity and the faint unrecognised apprehension that here, at last, I should find that low door in the wall which others, I knew, had found before me, which opened on an enclosed and enchanted garden, which was somewhere, not overlooked by any window, in the heart of that great city.’
但迟早，在外星世界的经历会变得越来越不愉快。我们的男女主人公从未真正融入到他们所处的陌生环境中。他们继续以一种梦幻般的、半独立的方式体验一切。“另一个世界”对他们来说从来都不是完全真实的——尽管在那里的经历最终可能会威胁到他们的生存。正是在这里，我们遇到了关于任何航行和返回故事中最重要的问题。当他们最终从与“另一个世界”的遭遇中走出来时，它在多大程度上给他们留下了永久的印记？这段经历如何改变了他们？
But sooner or later the experience of being in the alien world becomes less and less pleasant. Our heroes and heroines never really become engaged with the alien surroundings in which they find themselves. They continue to experience everything in a kind of dream-like, semi-detached way. The ‘other world’ is never wholly real to them – even though the experience of being there may eventually seem to threaten their very survival. And it is here we come to the most important question of all about any Voyage and Return story. To what extent, when they finally emerge from their encounter with the ‘other world’, has it left any lasting mark on them? How has the experience changed them?
不管它们的外在形式如何，航行和归来的故事实际上分为两个不同的类别。有些是男女主人公因与神秘的“另一个世界”的相遇而发生转变的；也有一些不是这样的。
Quite regardless of what outward form they take, Voyage and Return stories really fall into two distinct categories. There are those where the hero or heroine is transformed by the encounter with the mysterious ‘other world’; and there are those where they are not.
爱丽丝的两次冒险绝对属于后一种类型。“真是一个奇怪的梦”，当爱丽丝从仙境之旅中醒来时，她说道，事实证明这只是一个难以理解的梦，她回想起来只不过是一次令人难忘的奇异经历。访问完全一样多萝西到奥兹国，亲爱的孩子们到梦幻岛。同样，沃的《衰落》和《独家新闻》中的两位英雄佩尼费瑟和布特的要点在于，他们最终毫发无伤地回到了他们开始的有限而晦涩的生活状态。时间旅行者对他的未来之旅没有任何影响（尽管他回来时已经筋疲力尽），以至于他一向朋友们讲述了他的奇异经历，就又开始了另一段旅程。但这一次他再也没有回来。这样的“有去无回”只能说是“黑暗”版的“有去无回”故事；不过，在这种情况下，由于我们从未发现他在最后一次穿越时间的旅程中发生了什么，所以没有故事。3
Firmly of the latter type are the two adventures of Alice. ‘Such a curious dream’ remarks Alice, as she wakes up from her visit to Wonderland, and this is all it turns out to have been: just an incomprehensible dream, which she can look back on as no more than a memorably bizarre experience. Exactly the same are the visits of Dorothy to Oz and of the Darling children to Never Never Land. Equally, the point about Waugh’s two heroes Pennyfeather and Boot, in Decline and Fall and Scoop, is that they end up returning quite unaffected to the limited and obscure station in life where they began. So unaffected is the time traveller by his journey into the future (although he returns physically exhausted) that, no sooner has he recounted his bizarre experience to his friends, than he is off again on another journey. But this time he never returns. Such a ‘Voyage without Return’ can only be described as a ‘dark’ version of the Voyage and Return story; although, in this case, since we never discover what happened to him on his final journey through time, there is no story.3
另一方面，所有这些故事的中心人物都受到“另一个世界”经历的影响。他们受到影响的程度差别很大。在某些情况下，主要效果只是英雄受到了可怕的震惊，这使他感到震惊并处于一种更加反思的心态。当彼得兔从麦格雷戈先生的花园里经历了噩梦般的冒险回到家时，他已经筋疲力尽，必须上床睡觉：但他是否真正为自己的愚蠢行为悔改——即，他是否真的从自己的经历中学到了任何东西，而不仅仅是一个顽皮的孩子明天很可能会再做一遍——这一点尚不完全清楚。老实人和拉塞拉斯在经历了冒险之后，都因了解了人类普遍的愚蠢行为而受到了极大的磨练。古代水手对自己射杀信天翁的愚蠢行为所造成的后果感到非常震惊，以至于他被标记为终身。几个世纪以来，很少有英雄回家后为自己的愚蠢行为忏悔的故事比圣路加福音中浪子回头的寓言更为人们所熟知。两兄弟中的弟弟在向父亲索取自己的遗产后，前往“一个遥远的国家”，在那里“放荡的生活浪费了自己的财产”。按照航行和返回的模式，他的梦想变成了噩梦。当他失去了所有的钱后，发生了一场大饥荒。他正处于饿死的边缘。但在千钧一发之际，他设法爬回家，准备将自己投向父亲的怜悯，乞求父亲允许他做最卑微的工作，以换取足够的食物。
On the other hand are all those stories where the central figure is affected by the experience of having been in the ‘other world’. The degree to which they are affected varies considerably. In some instances, the chief effect is simply that the hero has been given a terrible shock, which leaves him shaken and in a rather more reflective state of mind. When Peter Rabbit returns home from his nightmare adventure in Mr McGregor’s garden he is exhausted, and has to be put to bed: but whether he is truly repentant of his folly – i.e., whether he has really learned anything from his experience and is not just a naughty child who might well do it all over again tomorrow – is not altogether clear. Both Candide and Rasselas emerge from their adventures considerably chastened by what they have learned about the follies of mankind in general. The Ancient Mariner has been so shocked by the consequences of his own folly, in shooting the albatross, that he is marked for life. While few stories where a hero returns home repenting of his own folly have been more familiar over the centuries than the parable of the Prodigal Son from St Luke’s Gospel. The younger of two brothers, after demanding his share of their inheritance from his father, travels into ‘a far country’ where he ‘wasted his substance with riotous living’. Following the Voyage and Return pattern, his dream then turns to nightmare. After he has lost all his money, a great famine arises. He is on the verge of starving to death. But in the nick of time, he manages to crawl back home, prepared to throw himself on his father’s mercy, begging to be allowed to perform the most menial tasks in return for enough to eat. So unconditional is the father’s love that, on seeing his son approaching, he joyfully welcomes him home with honour.
《远航与归来》故事还有其他版本，其中英雄的转变随着逐渐展开，成为整个故事的真正潜在主题。例如，格列佛游记中讽刺的累积目的是，格列佛连续四次前往小人国、布罗布迪纳格、拉普达和慧骃的土地，是要向英雄展示他在卡利班镜子中留下的所谓文明人类的真实状态，揭示他们的真实本性，即“大自然所遭受的最有害的小可恶的害虫种族”在地球表面爬行”。当格列佛到达慧骃（慧骃）的土地时，这些睿智、温柔、圣洁的马统治着可怕、无序的雅虎（人类在“真实的光芒”下被看到），格列佛对人类产生了几乎完全的厌恶。当他最后一次回到家时，他发生了如此深刻的变化，以至于他对人类的存在感到厌恶，只渴望有马的陪伴。
There are other versions of the Voyage and Return story where the hero’s transformation, as it progressively unfolds, becomes the real underlying theme of the whole story. The cumulative purpose of the satire in Gulliver’s Travels, for instance, as Gulliver makes his four successive journeys to Lilliput, Brobdignag, Laputa and the land of the Houyhnhnms, is to show the hero the real state of the supposedly civilised human beings he had left behind in a kind of Caliban’s mirror, revealing their true nature as ‘the most pernicious race of little odious vermin that nature ever suffered to crawl on the surface of the earth’. By the time he reaches the land of the Houyhnhnms, the wise, gentle, saintly horses who rule over the horrible, disorderly Yahoos (human beings seen in their ‘true light’), Gulliver has conceived an almost total distaste for humanity. When he finally reaches home for the last time, he has been so profoundly changed that he finds the very presence of humans abohorrent, and desires only the company of horses.
近乎当代的小说《鲁宾逊漂流记》的基本主题是更加积极的个人转变。一开始，我们看到的英雄是一个没有思想的年轻人，拒绝了父亲的明智建议，一心只想冒险（尽管现在他的脑海里浮现出浪子的先例）。当鲁滨逊发现自己被独自遗弃在岛上时，他所面临的磨难让他的内心感到震惊，最终他对自己以前的轻浮感到深深的悔恨。他开始相信上帝，尽管他发现自己陷入了可怕的困境，但上帝仍然为他提供了如此多的祝福，尤其是保全了他的生命，并为他提供了从沉船中抢救出来的许多重要的生活必需品。我们看到鲁滨逊逐渐学习成为他的小王国和他自己的主人。所以到了故事的后半部分，他必须面对新的考验，发现他的岛屿是一个可怕的食人部落的度假胜地，他的性格已经变得足够强大来应对它。到最后，他成为了岛上的国王，成为了他那一小群追随者的真正领导者。当他回到英国时，他发现很久以前对土地的投资现在已经成熟，这在表面上象征着他内心转变的成功。他是一个富裕的人，终于能够在他父亲多年前推荐的那个安全的生活“中间站”安定下来。他内心转变的成功在表面上表现为发现很久以前对土地的投资现在已经成熟。他是一个富裕的人，终于能够在他父亲多年前推荐的那个安全的生活“中间站”安定下来。他内心转变的成功在表面上表现为发现很久以前对土地的投资现在已经成熟。他是一个富裕的人，终于能够在他父亲多年前推荐的那个安全的生活“中间站”安定下来。
A rather more positive personal transformation is the fundamental theme of that near-contemporary novel, Robinson Crusoe. At the beginnining we see the hero as a thoughtless young man, rejecting the sage advice of his father and bent only on adventure (although even now the precedent of the Prodigal Son comes to his mind). Shocked to the core of his being by the ordeal he has to face when he finds himself cast away alone on the island, Crusoe eventually experiences feelings of profound repentance for his former frivolity. He comes to a belief in God who, despite the awful plight he finds himself in, has yet provided him with so many blessings, not least in sparing his life and providing him with so many vital necessities of life salvaged from the wreck. We see Crusoe gradually learning to become master of his little kingdom and of himself; so that by the time, in the second half of the story, he has to face the new ordeal of discovering that his island is the resort of a tribe of fearsome cannibals, his character has become strong enough to cope with it. By the end he is king over the island, a true leader over his little band of followers; and when he returns to England, the success of his inner transformation is outwardly symbolised by the discovery that an investment in land made long before has now matured. He is a prosperous man, able to settle down at last in that secure ‘middle station’ in life recommended by his father all those years before.
类似的长期个人转变是阿普列乌斯的《金屁股》的主题。我们首先见到的英雄是一个无忧无虑的年轻人，他唯一的兴趣是性冒险和对“神秘”的模糊好奇。卢修斯突然发现自己是一头毛茸茸的、不善言辞的蠢货，因此对人性阴暗面有了极其痛苦的、从屁股的角度看待，这让他的内心感到震惊，他慢慢地改变了他对世界的整个看法。当他受到必须与女人做爱的威胁时，他内心的改变终于戏剧性地暴露出来。一想到必须做一些他以前唯一渴望的事情，他就感到非常厌恶。他终于“准备好”变回人类，但与故事开头的卢修斯截然不同。他看到了自己非凡的异象女神伊西斯，谁呼召他过属灵的生活。他开始了解她的奥秘（就像阿普列乌斯本人一样），并准备在余生中致力于为她服务。因此，我们认为这部作品的全部目的是展示一个人从一种有限的、纯粹感性的意识状态开始，通过一系列的磨难提升到一个更高的意识状态，在那里他盲目的、虚幻的、自我的状态。 -对物质欲望的破坏性痴迷已经让位于精神启迪。
A similar prolonged personal transformation is the theme of Apuleius’s The Golden Ass. We first meet the hero as a happy-go-lucky young man whose only interests are sexual adventure and a vague curiosity about the ‘occult’. Shocked to the core of his being by finding himself suddenly a hairy, inarticulate ass, and consequently getting an extremely painful, ass’s-eye-view of the darker side of human nature, Lucius slowly changes his whole perspective on the world. The degree to which he has inwardly changed is at last brought dramatically into the open when he is threatened with having to make love to a woman. He is profoundly disgusted by the thought of having to do something which would earlier have been his sole desire. He is finally ‘ready’ for his transformation back into a human being, but one very different from the Lucius who began the story. He sees his extraordinary vision of the goddess Isis, who calls him to a spiritual life. He is initiated into her mysteries (as Apuleius himself had been) and prepares to devote himself to her service for the rest of his days. We thus see the whole purpose of the work as having been to show a man who begins in a limited, purely sensual state of consciousness being lifted up through a series of ordeals to a much higher state of awareness, where his blind, illusory, self-destructive obsession with material appetites has given way to spiritual illumination.
卢修斯最后启蒙的关键情节是一次如此深刻而神秘的经历，以至于他只能在本章开头引用的句子中提到它。但这显然暗示了某种进一步的航行和回归情节，一场有远见的“地狱之旅”，在那里他接受了最后的非凡启示，这让他在故事的结尾发生了如此大的变化：
The crucial episode in Lucius’s final initiation is an experience so profound and mysterious that he can only refer to it in the sentences quoted at the head of this chapter. But this clearly hints at some kind of further Voyage and Return episode, a visionary ‘journey to the underworld’, where he has received the last extraordinary illumination which leaves him, by the end of the story, so changed:
“我接近了死亡之门，踏上了普罗瑟芬的门槛……午夜时分，我看到太阳照耀得如同正午；我进入了地狱和地上诸神的面前，我崇拜他们。
‘I approached the very gates of death and set foot on Proserpine’s threshold ... at midnight I saw the sun shining as if it were noon; I entered the presence of the gods of the underworld and the overworld, and I worshipped them.’
这种前往地下世界或某些“死者之地”的旅程在世界文学中并不少见（例如，奥德修斯和埃涅阿斯访问哈迪斯的情节），并且它们总是反映了航行和航行的许多元素。返回故事，例如与幽灵居民沟通的困难以及一切事物的颠倒陌生（“午夜时分，我看到太阳照耀得像正午一样”）。一个特别令人难忘的例子是十二世纪丹麦人萨克索·格拉玛提库斯（Dane Saxo Grammaticus）记录的挪威故事，讲述了戈姆国王和伟大英雄索基尔前往“不死之地”的旅程，由可怕的巨人杰罗德（Geirrod）主持。世界边缘的一片土地“那里的雪永远不会融化，永恒的黑夜盛行”。首先他们的旅程一切顺利，但威胁逐渐从四面八方逼近，直到他们最终来到一座巨大的、幽灵般的城市，这座城市似乎是由蒸汽建成的，里面挤满了幽灵和怪诞的东西。在经历了一系列可怕的冒险之后，他们进行了一次“惊心动魄的逃亡”，并奇迹般地回到了家，他们最初的 300 名同伴中只剩下 20 名。此时，戈姆国王“不再寻求在危险的海洋之外的遥远土地上进行进一步的冒险”，而是“在痛苦的痛苦之后过着平静的生活，沉思着生与死的奥秘”。和卢修斯一样，他也受到了深深的震撼——并且发生了转变。他们最初的 300 名同伴中除了 20 人外全部失去了。此时，戈姆国王“不再寻求在危险的海洋之外的遥远土地上进行进一步的冒险”，而是“在痛苦的痛苦之后过着平静的生活，沉思着生与死的奥秘”。和卢修斯一样，他也受到了深深的震撼——并且发生了转变。他们最初的 300 名同伴中除了 20 人外全部失去了。此时，戈姆国王“不再寻求在危险的海洋之外的遥远土地上进行进一步的冒险”，而是“在痛苦的痛苦之后过着平静的生活，沉思着生与死的奥秘”。和卢修斯一样，他也受到了深深的震撼——并且发生了转变。
Such journeys to the underworld, or some ‘land of the dead’, are not uncommon in the world’s literature (e.g., the episodes where Odysseus and Aeneas make their visits to Hades), and invariably they reflect many of the elements of a Voyage and Return story, such as the difficulty of communicating with the ghostly inhabitants and the topsy-turvy strangeness of everything (‘at midnight I saw the sun shining as if it were noon’). A particularly haunting example is the Norse tale recorded by the twelfth-century Dane Saxo Grammaticus, of the journey made by King Gorm and the great hero Thorkill to ‘the land of the non-dead’, presided over by the terrible giant Geirrod, beyond the edge of the world in a land ‘where the snows never melt and eternal night prevails’. To begin with all goes well with their journey, but gradually threats close in from all sides until they finally come to a huge, ghostly city, seemingly built of vapour and thronged by phantoms and grotesques. After a series of terrifying adventures they make a ‘thrilling escape’ and, miraculously, reach home, having lost all but 20 of their original 300 companions. At this point King Gorm ‘sought not further adventures in distant lands beyond the perilous seas’, but ‘lived at peace after his sore travail, engaged in meditations regarding the mysteries of life and death’. Like Lucius, he had been deeply shaken – and transformed.
现在我们可以更清楚地了解航行和返回故事的真正含义。
We can now see more clearly just what the Voyage and Return story is really about.
如果我们考虑那些英雄因他在“另一个世界”的经历而改变的例子，我们就会发现，根据定义，他是在意识有限的状态下开始故事的。正是这一点让他陷入了一个他以前从未想象过的存在境界，这种经历导致了一场威胁他毁灭的噩梦。但结果他学到了一些非常重要的东西。他已经从无知走向了有知识。他对世界有了新的、更深刻的认识，这导致他的生活态度发生了彻底的改变。
If we consider those examples where the hero is changed by his experiences in the ‘other world’, we see that, by definition, he has begun the story in a state of limited awareness. It is this which has plunged him into a realm of existence he had never previously imagined, an experience which leads to a nightmare threatening him with annihilation. But as a result he has learned something of fundamental importance. He has moved from ignorance to knowledge. He has reached a new and much deeper understanding of the world, and this has led to a complete change in his attitude to life.
鲁滨逊漂流记一开始是一个无能的年轻人，他在世界各地流浪，无视父亲的明智建议，真正“在海上”。荒岛的震撼让他的世界观逐渐发生了彻底的改变。他学会了为自己的命运负责。他成为了他的小王国的主人：到了最后，他可以带领他的小追随者军队取得胜利，在与叛乱分子的战斗中，这构成了故事的高潮。他已经成为一个成熟、自力更生的“国王”人物，对岛上的每个人都行使公正的权威。
Robinson Crusoe begins as a feckless young man, wandering the world, ignoring his father’s sage advice and literally ‘all at sea’. The shock of finding himself on the desert island gradually leads to a complete change in his view of the world. He learns to take responsibility for his own destiny. He becomes master of his little kingdom: to the point where, at the end, he can lead his little army of followers to victory, in the battle with the mutineers which forms the climax of the story. He has become a mature, self-reliant, ‘kingly’ figure, exercising just authority over everyone on the island.
《金屁股》中的卢修斯一开始是一个无能、以自我为中心的年轻人，他唯一的兴趣就是滥交的性满足和神秘的伪精神刺激。他最终成为一个成熟、自律、精神光明的人物，将自己的一生奉献给象征无私的爱和智慧的女神，女神一直是他的救世主和启蒙的灵感。
Lucius in The Golden Ass begins as a feckless, self-centred young man whose only interests are promiscuous sexual gratification and the pseudo-spiritual titillations of the occult. He ends as a mature, disciplined, spiritually-illumined figure, dedicating his life to the goddess personifying selfless love and wisdom who has been his saviour and the inspiration of his enlightenment.
古代水手一开始是一个无能的年轻人，就像“在海上”的克鲁索一样，盲目而无情地射杀信天翁。这种针对一直伴随着这艘船的伟大生命象征的罪行的后果是，他看到死亡从四面八方逼近，直到他似乎孤身一人，被冻结在一种生死存亡的状态中。唯一可见的其他生物是“成千上万的爬行动物”，即水蛇：当他几乎用最后一口气对它们低声祝福时，这证明了转折点。他终于开始从他最初的意识中心，即他有限的小自我，转移到自己的另一个更深的中心，从中他可以认识到他与所有生命的亲缘关系。从这一刻起，当他周围冰冻、死亡的世界再次开始苏醒时，他被拯救了。
The Ancient Mariner begins as a feckless young man, like Crusoe ‘all at sea’, who blindly and heartlessly shoots the albatross. The consequences of this crime against the great numinous symbol of life which has been accompanying the ship are that he sees death closing in from every side, until he is seemingly all alone, frozen in a state of living death. The only other living creatures visible are the ‘thousand, thousand creeping things’, the water snakes: and when, almost with his dying breath, he whispers a blessing on them, this proves the turning point. He has at last begun to move from his original centre of awareness, his limited little ego, to another, much deeper centre in himself, from which he can recognise his kinship with all life. From this moment, as the frozen, deathly world around him begins to stir to life again, he is saved.
因此，我们在所有这些人物身上看到的是，他们一开始是自私的，没有真正认识到自己之外的世界的任何东西。在这种状态下，他们表现出与我们在早期情节中看到的那些反对男女主角的黑暗人物非常相似的盲目自我中心。在这里，英雄本人最初被呈现在远离光明的地方。正是这一点让他陷入了可能毁灭他的冒险之中。但最终他得救了，因为他的眼睛被打开了，他的心也经历了根本的改变。他已经从黑暗转向光明。克鲁索、卢修斯、古代水手、浪子都是如此。这些远航和回归英雄的真正胜利并不是战胜他们之外的黑暗势力。
What we thus see in all these characters is that they have begun as selfish, not really recognising anything in the world outside themselves. In this state they exhibit very much the same blind egocentricity which in earlier plots we saw characterising those dark figures who were opposed to the hero or heroine. Here it is the hero himself who is initially presented as far from light; and it is precisely this which plunges him into the adventure which threatens to destroy him. But in the end he is saved, because his eyes have been opened and he has gone through a fundamental change of heart. He has made the switch from dark to light. Such is the case with Crusoe, with Lucius, with the Ancient Mariner, with the Prodigal Son. The real victory of such Voyage and Return heroes is not over the forces of darkness outside them. It is over the same dark forces within themselves.
当然，在这方面，这个情节与我们之前看过的三种类型的故事有很大不同。同样，它也不具备英雄与“公主”最终胜利结合的普遍趋势。《远航与归来》故事的圆满结局就是主人公回到了他熟悉的世界。他已经成为一个新人了。通过发现他的个性的一个新的、更深层次的中心，他“看到了光明”。故事表明，这本身就足以保证他“从此幸福快乐地生活”。
In this respect, of course, this plot is rather different from the three types of story we have looked at earlier. And equally it does not share their general tendency to culminate in a final triumphant union of the hero with his ‘Princess’. The complete happy ending of the Voyage and Return story is simply that the hero returns to his familiar world transformed. He has become a new man. By discovering a new, much deeper centre to his personality, he has ‘seen the light’. And this in itself, the story suggests, is enough to guarantee that he will ‘live happily ever after’.
然而，尽管《远航与归来》的故事并没有以男女主人公相爱相爱的那种熟悉的结局形象结束，但这并不是说，在他们对另一个世界的梦幻般的经历中，与某些异性人物的关系可能不会发生。发挥重要作用。事实上，这样的关系往往标志着他们与难以捉摸的另一个世界唯一真正的个人接触或接触点。然而，值得注意的是，对于那些中心人物再次回到“现实世界”而没有发生转变，也没有从冒险中赢得任何积极成果的故事来说，情况更加一致。如果他或她确实在另一个世界形成了这样的关系，而且这对他们来说似乎是最重要的，那么当他们再次逃回现实时，它就必须被放弃。当英雄归来时，
But even though the Voyage and Return story does not end on that familiar concluding image of hero and heroine united in love, this is not to say that, during their dreamlike experience of the other world, relations with some figure of the opposite sex may not play an important part. Indeed such a relationship often marks the only real personal contact or point of engagement they have with the elusive other world. Yet, significantly, this is much more consistently true of those stories where the central figure returns again to the ‘real world’ without having been transformed, and without having won anything positive from the adventure. If he or she does form such a relationship in the other world, and it may seem of the highest importance to them, when they make their escape back to reality again, it has to be abandoned. When the hero returns, the girl is left behind.
例如，在威尔斯的《时间机器》中，主人公与遥远未来的另一个世界唯一可识别的个人接触是他与一位埃洛伊人的友谊，一位名叫威娜的漂亮年轻女孩，他从溺水中救了她，然后奴役了她到处都跟着他——直到最后一场噩梦般的追逐穿过黑暗的森林，她被阴暗的莫洛克人抓走并可能被吃掉。《第三人》中也有类似的情况在哈利·莱姆的维也纳虚幻、噩梦般的世界里，霍利·马丁斯与另一个人唯一真正的接触点是他与美丽、神秘的女演员安娜的友谊，他爱上了她。但影片中最令人难忘的场景之一出现在最后，莱姆的葬礼之后。马丁斯在寒冷的墓地里的一条长长的林荫道上等待着安娜朝他走来。最后，她到达了他身边，没有看他一眼就走了过去，留下他独自离开维也纳，孤身一人。故园重温查尔斯·莱德与另一个世界唯一真正的个人接触是他与塞巴斯蒂安的奇怪的强烈友谊，后来转变为他对塞巴斯蒂安的妹妹朱莉娅夫人的爱。当然，他被“驱逐”出故园世界的最后一个线索是朱莉娅解除了他们的婚约。他唯一爱过的女人不得不被抛在身后，莱德再次回到他的“正常”世界，面对他的余生，正如他所说，“没有孩子，中年，没有爱情”。
In Wells’s The Time Machine, for instance, the only identifiable personal contact the hero has with his other world of the distant future is his friendship with one of the Eloi, a pretty young girl called Weena, whom he rescues from drowning and who then slavishly follows him everywhere – until the final nightmare chase through the dark forest when she is snatched away by the shadowy Morlocks and presumably eaten. Similarly in The Third Man Holly Martins’s only real point of engagement with another person in the unreal, nightmarish world of Harry Lime’s Vienna is his friendship with the beautiful, enigmatic actress Anna, with whom he falls in love. But one of the most memorable scenes in the film comes right at the end, after Lime’s funeral. Martins waits for Anna as she walks towards him down a long avenue in the wintry cemetery. Finally she reaches him and passes by without a look, leaving him to make his departure from Vienna friendless and alone. In Brideshead Revisited, Charles Ryder’s only real personal engagement with the other world is his strangely intense friendship with Sebastian, later transmuted into his love for Sebastian’s sister, Lady Julia. And of course the final cue for his ‘expulsion’ from the world of Brideshead is Julia’s breaking off of their engagement. The only woman he has ever loved has to be left behind, and Ryder returns to his ‘normal’ world again to face the rest of his life, as he puts it, ‘childless, middle-aged and loveless’.
这就是最著名的《远航与归来》故事中的主人公的处境，俄耳甫斯在经历了地狱之旅后，不得不永远留下他的挚爱尤丽狄刻。去那里把她带回来后，他被告知他可以这样做，但有一个条件：当他返回上层世界时，他要一直向前看，不回头。在最后一刻，就在他走进日光之前，他回头看看尤丽狄斯是否在跟着他。俄耳甫斯并没有满怀喜悦地回来，生活也焕然一新，而是带着无爱、孤独和未曾改变的旅程回来了。而其他必须离开在另一个世界对他们来说变得重要的女人的英雄也同样没有发生转变，这并非偶然。4
Such is the position of the hero of one of the most famous of all Voyage and Return stories, Orpheus, who, after his journey through the underworld, has to leave behind him forever his great love Eurydice. Having gone there to bring her back, he is told he can do so on one condition: that, as he returns to the upper world, he keeps looking forward and does not look back. At the last moment, just before he steps out into the daylight, he looks back to see if Eurydice is following him. Instead of coming back joyful, with his life immeasurably renewed, Orpheus thus returns from his journey loveless, alone and untransformed. And it is no accident that the other heroes who must leave behind the woman who has become important to them during their time in the other world emerge similarly untransformed.4
阿兰·福尼耶（Alain Fournier）的小说《大莫尔内斯》（Le Grand Meaulnes ）似乎是这种模式的一个变体。莫尔内斯，一个粗鲁的少年，在法国乡村的一个晚上消失了。几天后，当他疲惫不堪、浑身颤抖地回来时，他经历了一次非常奇怪的冒险。他迷路了，在寻找过夜的地方时，他发现了一栋灯火通明的房子。一进去，他发现自己陷入了一个奇怪的、梦幻般的狂欢场景，周围有一群穿着旧时代衣服的同性恋年轻人和儿童。他和家里的女儿伊冯（Yvonne）发现彼此互相吸引。但聚会突然结束了，年轻人消失了，莫尔讷发现自己独自一人站在乡村的十字路口。难道这一切都是一场梦吗？到目前为止，这是一次典型的航行和返回冒险。但随后出现了转折。莫尔内斯最终在“现实世界”再次遇到伊冯，并与她结婚。然而，几乎立刻，他必须离开，回来时发现她已经难产而死。也就是说，虽然他最终和异世界遇到的女孩结合了，但他还是失去了她。他们幸存的孩子是她真实存在过的唯一证据。但即使是他，现在也是由别人抚养长大的。在故事的结尾，莫尔讷“没有孩子，没有爱”，孤身一人。
A story which might seem to offer something of a variation on this pattern is Alain Fournier’s novel Le Grand Meaulnes. Meaulnes, an uncouth teenage boy, disappears one night in the French countryside. When he returns a few days later, exhausted and shaken, he has had a very strange adventure. He had got lost and, looking for somewhere to spend the night, he had come across a house blazing with light. On entering, he found himself plunged into a strange, dreamlike scene of revelry, involving a crowd of gay young people and children, dressed in clothes of a bygone age. He and the daughter of the house, Yvonne, found themselves mutually attracted. But suddenly the party had come to an end, the young people disappeared, and Meaulnes found himself all alone at a country crossroads. Has it all been a dream? So far it is a typical Voyage and Return adventure. But then comes the twist. Meaulnes eventually runs across Yvonne again in the ‘real world’, and marries her. Almost immediately, however, he has to go away and returns to find that she has died, in childbirth. In other words, although he has eventually been united with the girl he met in the other world, he still loses her. Their surviving child is the only proof that she ever really existed. But even he is now being brought up by someone else. At the end of the story Meaulnes is thus left ‘childless, loveless’ and alone.
另一个更为著名的二十世纪故事《飘》也以同样难以掩饰的凄凉结局结束，该故事由“远航与归来”情节塑造而成。，玛格丽特·米切尔的小说，于 1939 年成为有史以来最成功的电影之一。我们见到了女主人公斯嘉丽·奥哈拉，她是一个美丽的青春期女孩，生活在她成长的“正常”世界中，她生活在战前拥有奴隶的南方贵族阶层，她的家在她家族的塔拉大宅里。和塔拉周围的其他人一样，她随后陷入了美国内战的“异常”世界，在暴力、匮乏和失败中，所有熟悉的价值观和假设都被颠倒了。斯嘉丽的故事围绕着她对两个男人的爱情展开：软弱、女性化的阿什利·威尔克斯和“过于男性化”的瑞德·巴特勒。随着阴影笼罩她的世界，她最终与瑞德开始了一场风雨飘摇的婚姻，并生下了一个女儿。但孩子却在一次骑行事故中丧生。斯嘉丽第二次怀孕流产，而瑞德，失去了对她的所有爱（“我不在乎”），最后一次抛弃了她。斯嘉丽回到故事开始的塔拉半毁的家族宅邸，绝望地想知道如何才能赢回瑞德。一切皆有可能，她试图说服自己，并以她勇敢的宣言“明天又是新的一天！”结束了故事。她的话似乎表明她再次期待起来。但事实上，就像奥菲斯一样，她实际上只是在回望，回望她永远失去的东西。事实是，尽管她一厢情愿，可怜的斯嘉丽最终“没有孩子，没有爱”并且孤独。她试图说服自己，最后以她勇敢的宣言“明天又是新的一天！”结束了故事。她的话似乎表明她再次期待起来。但事实上，就像奥菲斯一样，她实际上只是在回望，回望她永远失去的东西。事实是，尽管她一厢情愿，可怜的斯嘉丽最终“没有孩子，没有爱”并且孤独。她试图说服自己，最后以她勇敢的宣言“明天又是新的一天！”结束了故事。她的话似乎表明她再次期待起来。但事实上，就像奥菲斯一样，她实际上只是在回望，回望她永远失去的东西。事实是，尽管她一厢情愿，可怜的斯嘉丽最终“没有孩子，没有爱”并且孤独。5
A similarly hard-to-disguise bleak ending concludes another, even more famous twentieth-century story shaped by the Voyage and Return plot, Gone With the Wind, the novel by Margaret Mitchell which in 1939 became one of the most successful films ever made. We meet the heroine Scarlett O’Hara as a beautiful adolescent girl in the ‘normal’ world of her upbringing, the ante-bellum slave-owning Southern aristocracy and her home in her family’s great house Tara. Like everyone else around Tara, she is then plunged into the ‘abnormal’ world of the American Civil War when, amid violence, deprivation and defeat, all familiar values and assumptions are turned upside down. Scarlett’s story is centred on her love for two men, the weak, effeminate Ashley Wilkes and the ‘over-masculine’ Rhett Butler. As the shadows lengthen over her world, she finally embarks on a stormy marriage to Rhett and they produce a daughter. But the child dies in a riding accident. Scarlett miscarries a second pregnancy, and Rhett, having lost all love for her (‘I don’t give a damn’), abandons her for the last time. Scarlett returns to the half-ruined family mansion at Tara, where the story began, and forlornly wonders how she can win Rhett back. Anything is possible, she tries to persuade herself, ending the story on her brave declaration ‘Tomorrow is another day!’. Her words seem to indicate that she is once again looking forward. But in fact, like Orpheus, she is really only looking back, to what she has lost forever. The truth is that, for all her wishful thinking, poor Scarlett is at last ‘childless, loveless’ and alone.5
所有这些例子表明，就像在《远航与归来》故事中和我们看过的其他类型的情节一样，中心人物与某些女性或男性“另一半”之间的关系可能为我们提供关键的关键故事中正在发生的事情：除了这里的中心人物是他或她无法控制的事件的玩物之外，我们看到的这种关系所揭示的很可能是中心人物的一些根本性缺陷，而这种缺陷从未得到纠正。在早期类型的故事中，没有什么比将“另一半”从黑暗的掌控中解放出来更能完全证实男女主人公值得获得完全幸福结局的了。但在这里，另一半仍然处于“另一个世界”的黑暗中。即使男女主人公自己从另一个世界中走出来，如果他们的另一半留在了身后，故事就会以悬而未决、悲观的基调结束，无论怎样勇敢地谈论明天又是新的一天都无法掩盖这一点。他们经历了与神秘、未知领域对抗的巨大经历，这动摇了他们以前身份的基础。然而，他们基本上没有发生任何转变，没有学到任何东西，也没有获得什么。我们对他们的了解是，他们在故事结束时对世界的理解实际上并不比故事开始时更好。他们已经接受了一些非常基本的测试——但他们失败了。悲观的音符是任何勇敢的谈论明天又是新的一天都无法掩盖的。他们经历了与神秘、未知领域对抗的巨大经历，这动摇了他们以前身份的基础。然而，他们基本上没有发生任何转变，没有学到任何东西，也没有获得什么。我们对他们的了解是，他们在故事结束时对世界的理解实际上并不比故事开始时更好。他们已经接受了一些非常基本的测试——但他们失败了。悲观的音符是任何勇敢的谈论明天又是新的一天都无法掩盖的。他们经历了与神秘、未知领域对抗的巨大经历，这动摇了他们以前身份的基础。然而，他们基本上没有发生任何转变，没有学到任何东西，也没有获得什么。我们对他们的了解是，他们在故事结束时对世界的理解实际上并不比故事开始时更好。他们已经接受了一些非常基本的测试——但他们失败了。一无所获或一无所获。我们对他们的了解是，他们在故事结束时对世界的理解实际上并不比故事开始时更好。他们已经接受了一些非常基本的测试——但他们失败了。一无所获或一无所获。我们对他们的了解是，他们在故事结束时对世界的理解实际上并不比故事开始时更好。他们已经接受了一些非常基本的测试——但他们失败了。
What all these examples demonstrate is that, just as much in the Voyage and Return story as in the other types of plot we have looked at, the relations between the central figure and some feminine or masculine ‘other half’ may give us the essential key to what is going on in the story: except that here, where the central figure is the plaything of events beyond his or her control, what we see revealed by that relationship is likely to be some fundamental inadequacy in the central figure which is never rectified. In the earlier types of story, nothing more completely confirms the hero or heroine’s worthiness to achieve a complete happy ending than the liberation of their ‘other half’ from the grip of darkness. But here the other half remains in the darkness of the ‘other world’. And even though the hero or heroine themselves emerge from that other world, if their other half remains behind, the story ends on an unresolved, downbeat note which no amount of brave talk about tomorrow being another day can disguise. They have been through the tremendous experience of their confrontation with the mystifying, unknown realm, which has shaken them to the foundations of their previous identity. Yet they have emerged essentially untransformed, having learned or gained nothing. And what we have learned about them is that their understanding of the world is really no greater at the end of the story than it was at the beginning. They have been put to some very fundamental test – and they have failed.
航程与回程：总结
Voyage and Return: Summing up
故事在人类想象中形成的第四种方式是，男女主人公突然从他们的“正常”世界转移到一个不正常的世界，并最终回到他们开始的地方。这样一个故事的格局很可能是这样展开的：
A fourth way in which a story may take shape in the human imagination shows the hero or heroine being abruptly transported out of their ‘normal’ world into an abnormal world, and eventually back to where they began. The pattern of such a story is likely to unfold like this:
1.期待阶段和“坠入”另一个世界：当我们第一次见到男主角、女主角或中心人物时，他们很可能处于某种状态，这使他们能够接受令人震惊的新体验。他们的意识在某种程度上受到限制。他们可能只是年轻、天真，对世界的经验有限。他们可能会更加积极地好奇并寻找发生在他们身上的意想不到的事情。他们可能感到无聊，或昏昏欲睡，或鲁莽。但无论出于什么原因，他们发现自己突然脱离了熟悉的、有限的存在，进入了一个陌生的世界，与他们以前经历过的任何事情都不一样。
1. Anticipation Stage and ‘fall’ into the other world: When we first meet the hero, heroine or central figures, they are likely to be in some state which lays them open to a shattering new experience. Their consciousness is in some way restricted. They may just be young and naive, with only limited experience of the world. They may be more actively curious and looking for something unexpected to happen to them. They may be bored, or drowsy, or reckless. But for whatever reason, they find themselves suddenly precipitated out their familiar, limited existence, into a strange world, unlike anything they have experienced before.
2.最初的迷恋或梦想阶段：起初，他们对这个令人不安的新世界的探索可能会令人兴奋，因为它是如此令人困惑和陌生。但这从来都不是一个让他们有宾至如归的感觉的地方。
2. Initial fascination or Dream Stage: At first their exploration of this disconcerting new world may be exhilarating, because it is so puzzling and unfamiliar. But it is never a place in which they can feel at home.
3.挫败阶段：冒险的情绪逐渐转变为挫败、困难和压迫之一。阴影开始侵入，这变得越来越令人震惊。
3. Frustration Stage: Gradually the mood of the adventure changes to one of frustration, difficulty and oppression. A shadow begins to intrude, which becomes increasingly alarming.
4.噩梦阶段：阴影变得如此强大，似乎对男女主人公的生存构成了严重威胁。
4. Nightmare Stage: The shadow becomes so dominating that it seems to pose a serious threat to the hero or heroine’s survival.
5、惊心动魄的逃亡与回归：当男女主人公面临的威胁难以承受时，他们逃离了另一个世界，回到了出发的地方。在这一点上，整个冒险提出的真正问题是：他们从经验中学到或收获了多少？它们是否已经从根本上改变了，或者这一切“只是一个梦”？
5. Thrilling Escape and return: Just when the threat closing in on the hero or heroine becomes too much to bear, they make their escape from the other world, back to where they started. At this point the real question posed by the whole adventure is: how far have they learned or gained anything from their experience? Have they been fundamentally changed, or was it all ‘just a dream’?
在航行和返回的故事中，我们再次看到了与我们在早期情节中观察到的底层结构的相似之处。故事开始时，男女主人公都处于有限或不完整的状态，这导致他们在投入冒险时最初感到压抑。当他们探索自己所处的新世界时，随之而来的是一种扩张和视野开阔的感觉。但随后，随着阴影的临近，一种新的压迫感出现了。这最终将我们引向故事的高潮，在这里，压抑感达到了最强烈的程度。最后，如果故事要有个圆满的结局，我们就会看到英雄经历改变人生的逆转。在光谱的另一端，就像卡夫卡的故事一样，是航行和返回故事最黑暗的罕见例子，最消极的形式，英雄仍然被困在另一个世界，永远不会回来。然而，更常见的是故事的不太黑暗的形式，英雄或女英雄确实再次出现，但什么也没学到；并且经常在另一个世界留下一些对他们来说变得重要的异性人物。完整的幸福结局是为那些故事保留的，比如在《金驴》或《鲁滨逊漂流记》中，英雄的经历从根本上改变了他：从我们一开始看到的那个有限的、以自我为中心的、潜在的黑暗人物，到最后变成了成熟、充实、轻松的人物。在这里，我们第一次看到这样一种故事，为了达到一个完全解决的结局，需要它的中心人物经历这样一种从黑暗到光明的内心转变。我们现在要转向另一种类型的情节，这种转变是如此重要，以至于没有它，故事就无法存在。在这里，我们坚定地回到了完美结局的境界，就像我们在之前的情节中看到的那样，男女主角幸福地结合在一起；为所有文学作品中的故事提供了一些最阳光明媚、最辉煌的结论。
Again in the Voyage and Return story we see a parallel to that underlying structure we observed in the earlier plots. The story begins with the hero or heroine in that limited or incomplete state which leads to the initial sense of constriction as they are plunged into their adventure. This is followed, as they explore the new world they find themselves in, by a sense of expansion and widening horizons. But then, as the shadow approaches, there is a new sense of constriction. This eventually leads us up to the story’s climax, where the sense of constriction is at its most acute; and here at last, if the story is to come to a full happy ending, we see the hero going through a life-changing reversal. At the opposite end of the spectrum, as in the stories by Kafka, are those rare examples of the Voyage and Return story in its darkest, most negative form, where the hero remains trapped in the other world, never coming back at all. Much more common, however, is the lesser dark form of the story where the hero or heroine do emerge again, but having learned nothing; and often having left behind in the other world some figure of the opposite sex who has become important to them. The complete happy ending is reserved for those stories, like The Golden Ass or Robinson Crusoe, where the hero has been fundamentally changed by his experience: from that limited, self-centred, potentially dark figure we saw at the beginning to the mature, fulfilled, light figure he has become by the end. And here, for the first time, we have seen a type of story which, to reach a fully resolved ending, requires its central figure to go through such an inner switch from darkness to light. We are now about to move on to another type of plot where this transformation is so central that the story cannot exist without it. Here we move firmly back into the realm of the complete happy ending as we have seen it in earlier plots, with a hero and heroine joyfully united; providing some of the most sunlit and glorious conclusions to stories in all literature.
第6章
喜剧
Chapter 6
Comedy
“杰克将拥有吉尔，一切都不会生病；
‘Jack shall have Jill, naught shall go ill;
这个人将再次拥有他的母马，一切都会好起来的。”
The man shall have his mare again, and all shall be well’.
仲夏夜之梦
A Midsummer Night’s Dream
费加罗正计划与苏珊娜结婚，但首先他必须赢得雇主阿尔马维瓦伯爵的批准，后者看上了苏珊娜本人，这让他的妻子伯爵夫人非常懊恼，伯爵夫人深受年轻的凯鲁比诺的崇拜，反过来又被芭芭丽娜所爱。让事情变得更简单的是，费加罗似乎已经与年迈的玛塞利娜结婚了——直到发现她是他失散多年的母亲。
Figaro is planning to marry Susanna, but first he has to win the approval of his employer, the Count Almaviva, who has his eye on Susanna himself, much to the chagrin of his wife the Countess, who is adored by the young Cherubino, who is in turn loved by Barbarina. Just to make things even more straightforward, it also seems that Figaro is already contracted to marry the elderly Marcellina – until it is discovered that she is his long-lost mother.
一旦我们遇到这样的情况，我们就知道我们面对的是一种与其他故事不同的故事，并且在人类想象力中最不可能的混合故事中必须排名靠前。我们正在进入一个充满奇异惯例的世界，其中许多惯例在 2000 多年来几乎没有改变：格劳乔·马克斯 (Groucho Marx) 在《卡萨布兰卡之夜》中扮演一家豪华酒店的新经理时，也许对这种惯例的肤浅精神进行了最好的总结。 。他召集了他的员工，宣布他将更改所有房间的号码。“但是客人”他的一名员工抗议道，“他们会进错房间。” 想想这种混乱吧。“是的，”格劳乔回答道，“但想想其中的乐趣。”
As soon as we are presented with a situation like this we know we are faced with a type of story unlike any other and one which must be numbered high among the more improbable concoctions of the human imagination. We are entering a world of bizarre conventions, many of them scarcely altered in over 2000 years: the superficial spirit of which was perhaps best summed up by Groucho Marx when, in A Night in Casablanca, he was playing the new manager of a luxury hotel. Summoning his staff, he announces that he is going to change round the numbers on all the rooms. ‘But the guests’ protests one of his employees, ‘they will go into the wrong rooms. Think of the confusion.’ ‘Yeah’ replies Groucho, ‘but think of the fun.’
面对《费加罗的婚礼》开头普遍存在的那种混乱，如果这种更加熟悉的误解来源使情况变得更加复杂，我们可能不会完全感到惊讶：
Confronted by the kind of confusion which prevails at the beginning of The Marriage of Figaro, we may not be entirely surprised if this is made still more complicated by such further familiar sources of misunderstanding as:
• 角色乔装打扮或交换身份；
• characters donning disguises or swapping identities;
• 男性打扮成女性，反之亦然；
• men dressing up as women, or vice versa;
• 当“错误的人”出现时进行秘密指派；
• secret assignations when the ‘wrong person’ turns up;
• 角色被匆忙隐藏在橱柜或家具后面的场景，结果却不可避免地令人尴尬地被发现。
• scenes in which characters are hastily concealed in cupboards or behind furniture, only for their presence to be inevitably and embarrassingly discovered.
事实上，我们知道，误解带来的混乱可能只会变得更糟，直到角色们把自己和彼此绑在一起的结似乎几乎难以忍受。但最终，所有人、所有事情都会奇迹般地得到解决，带来一个令人难以置信的幸福结局，这让所有人都松了口气。
Indeed we know that the general chaos of misunderstanding is likely only to get worse, until the knot the characters have tied themselves and each other up into seems almost unbearable. But finally, and to universal relief, everyone and everything will get miraculously sorted out, bringing a deliriously happy ending.
事实上，喜剧是一种非常特殊的故事。这不仅仅是一个有趣的故事。一些非常有趣的故事有截然不同的情节。确实，作为我们将会看到，一个故事可能会遵循喜剧情节，但根本不是为了搞笑。即使作者将他的故事描述为“喜剧”（例如契诃夫的《樱桃园》），也不一定意味着它在情节上是喜剧。但正是塑造喜剧情节的东西，提供了马克思兄弟的电影和莎士比亚的戏剧、美国音乐剧和简·奥斯丁的小说、莫扎特的歌剧和 PG 沃德豪斯的故事之间的共同因素，需要稍微仔细地解开。事实上，它引导我们找到了文学中最有价值的谜题之一。
In fact Comedy is a very specific kind of story. It is not simply any story which is funny. Some very funny stories have quite different kinds of plot. Indeed, as we shall see, a story may follow the plot of comedy without it being intended to be funny at all. Even the fact that an author describes his story as a ‘comedy’ (e.g., Chekhov’s The Cherry Orchard) does not necessarily mean that it is a Comedy in plot terms. But just what it is that shapes the plot of Comedy, that provides the common factor between say, a Marx Brothers film and a play by Shakespeare, an American musical and a novel by Jane Austen, a Mozart opera and a story by P. G. Wodehouse, requires a little careful unravelling. In fact it leads us on to one of the most rewarding puzzles literature has to offer.
喜剧——第一阶段：阿里斯托芬
Comedy – Stage one: Aristophanes
喜剧最不寻常的一点是，与任何其他类型的情节不同，我们实际上可以看到它在历史上的形成。所有其他基本类型的故事，当我们在讲故事的历史中第一次遇到它们时，似乎已经完全成型了。但当我们回顾喜剧的历史时，我们可以看到它的演变经历了三个不同的阶段。然而，当我们逐渐掌握了情节所依据的基本原则时，我们可以看到基本情节本身并没有真正改变：所发生的只是故事原本只是隐含的方面被发展和展现出来，以达到目的。更加清晰地关注故事的真正内容。
Not the least unusual thing about Comedy is that, unlike any other kind of plot, we can actually see it taking shape historically. All the other basic types of story, when we first come across them in the history of storytelling, appear, as it were, fully formed. But when we look back over the history of Comedy we can see it evolving, through three distinct stages. Nevertheless, as we come to grasp the fundamental principle on which the plot rests, we can see that the basic plot itself has not really changed: all that has happened is that aspects of the story originally only implicit have been developed and brought out, to give a sharper focus on what the story is really about.
没有人确切知道喜剧是否如传说那样始于古希腊的乡村狂欢1——尽管节日狂欢的精神与此后许多喜剧结尾时普遍存在的情绪之间并没有任何不一致之处。可以肯定的是，当我们第一次看到具体的例子时，在公元前425年至公元前388年的所谓“老喜剧”中，阿里斯托芬在近40年的时间里成为雅典最顶尖的剧作家之一，我们仍然看到其中的情节处于其发展的早期阶段。我们看到了后来构成完整喜剧情节的一些成分，但绝不是全部。
No one knows for certain whether Comedy began, as legend has it, in the village revels of ancient Greece1 – although there is nothing inconsistent between a spirit of festive revelry and the mood which has prevailed at the conclusion of so many comedies since. What is certain is that, when we first come across specific examples, in the so-called ‘Old Comedy’ which, between 425 and 388 BC, made Aristophanes for nearly 40 years one of the leading playwrights in Athens, we still see the plot at an early stage of its development. We see some of the ingredients which later went to make up the fully-formed Comedy plot, but by no means all.
阿里斯托芬式喜剧的核心是两个角色或一组角色之间的痛苦或冲突。一个人被某种黑暗、僵化、否定生命的痴迷所支配。另一个代表生命、解放和真理。当然，这个问题最终的决定是有利于后者的。在吕西斯忒拉忒（近年来最受欢迎的喜剧，因其“女权、反战”主题）第一组以雅典男人为代表，充满尚武热情，永远远离城市进行战争；第二个是他们不幸的妻子被困在家里，决心治愈他们的男人们对好战的痴迷。女人们想到了撤退到卫城并拒绝与她们的丈夫有任何关系（特别是拒绝她们的“婚姻权利”），直到男人们同意放弃对战争的热爱。有一段时间，人们很困惑，直到男人们认识到他们最重要的优先事项是什么，并屈服于女人的要求。有这是普遍和解的最后一幕，每个人都与他的“另一半”团聚，所有人都开始了欢乐的庆祝活动。
At the heart of Aristophanic comedy lay an agon or conflict between two characters or groups of characters. One is dominated by some dark, rigid, life-denying obsession. The other represents life, liberation and truth. The issue is ultimately decided, of course, in favour of the latter. In Lysistrata (the most popular of the comedies in recent times because of its ‘feminist, anti-war’ theme), the first group is represented by the men of Athens, full of martial ardour and always away from the city making war; the second by their unhappy wives, stuck at home, determined to cure their menfolk of their warlike obsession. The women hit on the device of retreating to the Acropolis and refusing to have anything to do with their husbands (in particular refusing them their ‘conjugal rights’) until the men agree to give up their love of war. For a time confusion reigns, until the men recognise where their inmost priorities lie and surrender to the women’s demands. There is a final scene of universal reconciliation, as each man is reunited with his ‘other half’, and all go off for a joyous celebration.
在黄蜂中阿里斯托芬向我们展示了普罗克里昂的冷酷形象，这位老人痴迷于担任陪审团成员，对他的同胞做出判断，并总是认定他们有罪。他的儿子安提莱昂决定将他从这种黑暗的迷恋中解放出来。他说服父亲，如果他们在自己家里设立一个法庭，他可以更方便地享受他最喜欢的消遣。第一个被带去审判的“囚犯”是一只被指控从厨房偷了一条肉的狗。安提克利昂设法让他的父亲对他处理案件的行为感到困惑，结果普罗克利昂无意中把他的陪审员的鹅卵石放在了错误的罐子里，从而这是他一生中第一次发现一名囚犯无罪。最初，他对自己被欺骗而背叛了他最珍视的原则感到愤怒，但他逐渐认识到，他对审判的痴迷只是一场可怕的监禁，而他现在已经被释放了。该剧的结局显示他高兴地发现了新的“解放”的自我，唱歌、喝酒、去参加聚会，对那些仍然陷在痴迷的跑步机上的老陪审团同事们嗤之以鼻，并在最后的杰作中表明他可以在舞台上与其他人跳舞。
In The Wasps Aristophanes shows us the grim figure of Procleon, an old man who is obsessed with serving on juries, passing judgement on his fellow citizens and invariably finding them guilty. His son Anticleon determines to liberate him from this dark obsession. He persuades his father that he could much more conveniently indulge his favourite pastime if they were to set up a courtroom in their own home. The first ‘prisoner’ brought for judgement is a dog accused of stealing a leg of meat from the kitchen. Anticleon contrives so to confuse his father with his conduct of the case that Procleon inadvertently places his juryman’s pebble in the wrong pot, thus for the first time in his life finding a prisoner not guilty. Initially he is furious at having been tricked into betraying his most deeply-cherished principle, but gradually he comes to recognise that his obsession with sitting in judgement was only a terrible imprisonment from which he has now been released. The conclusion of the play shows him happily discovering his new ‘liberated’ self, singing, drinking, going off to parties, pouring scorn on his old jury colleagues who are still stuck on the treadmill of their obsession, and in a final tour de force showing he can dance everyone else off the stage.
在Thesmophoriazusae（诗人和女人）中那些充满黑暗、否定生命的坏脾气的人物是雅典的妇女们，当她们聚集在一起庆祝一年一度的节日“Thesmophoria”时，她们正密谋杀害剧作家欧里庇得斯，在她们看来，这是不公平的。在他的戏剧中呈现女性形象。欧里庇得斯把他的叔叔姆内西洛科斯乔装成女人偷偷带入聚会，为他辩护。他的伪装不可避免地被识破，姆内西洛科斯被囚禁，而女人们则愤怒地决定他的命运。他设法得知欧里庇得斯发生了什么事，欧里庇得斯伪装成他戏剧中的一系列英雄，做出了各种荒谬的尝试来营救他。直到绝望中的欧里庇得斯终于鼓起勇气以自己的身份出现在他们面前，并威胁要向她们的丈夫透露她们的男人们外出打仗时她们的所作所为，黎明了吗？这些女性认识到她们的真实行为是她们绝对不希望被曝光的。人们普遍恢复了良好的幽默感。姆内西洛科斯被释放，一切都幸福地结束了。
In the Thesmophoriazusae (The Poet and the Women) the characters possessed by dark, life-denying ill-humour are the women of Athens who, as they gather for their yearly festival, the Thesmophoria, are plotting to kill the playwright Euripides for the unfair way, as they see it, in which he presents women in his plays. Euripides smuggles his uncle Mnesilochus into the gathering, disguised as a woman, to plead his case. Inevitably his disguise is penetrated, and Mnesilochus is held prisoner while the women angrily decide his fate. He manages to get word of what has happened out to Euripides, who makes various absurd attempts to rescue him, disguised as a succession of heroes from his plays. Only when in desperation Euripides finally plucks up the courage to appear before them in his own identity, and threatens to reveal to their husbands the way they have been carrying on while their menfolk were away at the war, does the light dawn. The women recognise their true behaviour has been such that there is no way they would wish it to be exposed. There is a general return to good humour. Mnesilochus is released and all ends happily.
在这些故事中的每一个故事中，最终的幸福结果都取决于一个关键的转折点：当“黑暗”角色沉迷于战争、审判、杀戮的分裂欲望时，突然被迫认识到对自己如此重要的东西的那一刻这完全改变了他们的态度，为和解和庆祝铺平了道路。亚里士多德将这称为“anagnorisis”或“识别”，即以前未识别或未知的事物突然变得清晰的时刻。正如亚里士多德所说，“认识”“意味着从无知到知识的转变”。某些事情的发现改变了情况。尽管喜剧在未来的几个世纪中经历了许多变化，但这种“从无知到知识”的转变仍然是喜剧情节的核心，
In each of these stories the eventual happy outcome hinges on a crucial turning point: the moment when the ‘dark’ characters, obsessed with their divisive desire to make war, to judge, to kill, are suddenly forced to recognise something so important about themselves that it completely changes their attitude, paving the way to reconciliation and celebration. It was this which Aristotle called anagnorisis or ‘recognition’, the moment when something previously not recognised or known suddenly becomes clear. ‘Recognition’, as Aristotle put it, ‘means the change from ignorance to knowledge’. Something is discovered which transforms the situation. And although comedy was to go through many changes in the centuries which lay ahead, this transition ‘from ignorance to knowledge’ was to remain at the heart of the comic plot, as the central clue to what this type of story is about.
第二阶段——“新喜剧”
Stage two – The ‘New Comedy’
在阿里斯托芬全盛时期之后的一个世纪里，喜剧经历了一场如此显着的变化，几乎相当于一种突变。随着“老喜剧”让位于所谓的“新喜剧”，特别是与雅典的米南德，以及后来与他的罗马模仿者普劳图斯和特伦斯相关的新喜剧，两个新元素在情节中脱颖而出，它们是如此基础从那时起，它就被认为与喜剧几乎密不可分。
During the century after the heyday of Aristophanes, Comedy went through a change so marked as to amount almost to a mutation. As the ‘Old Comedy’ gave way to the so-called ‘New Comedy’, particularly associated with the Athenian Menander, and later with his Roman imitators Plautus and Terence, two new elements came to the fore in the plot, so fundamental they have come to be thought of as almost inseparable from Comedy ever since.
最引人注目的创新是喜剧变成了爱情故事。故事情节首次以男女主人公为中心：故事中的混乱或冲突的主要影响是使两人分开，直到他们在最后的场景中胜利地走到一起。换句话说，关于“新喜剧”，我们首先观察到的只是它已经达到了我们在其他类型的故事中已经非常熟悉的普遍幸福结局：男女主角的最终结合，在一种象征着完成、分裂的结束和生命的更新的方式。
The most striking innovation was that Comedy became a love story. The action became centred for the first time on a hero and a heroine: and the chief effect of the confusion or conflict in the story is to keep the two apart until they can be brought triumphantly together in the closing scenes. In other words, the first thing we may observe about the ‘New Comedy’ is simply that it has arrived at the universal happy ending we are already so familiar with from other kinds of story: the final uniting of a hero and a heroine, in a way which symbolises completion, the end of division and the renewal of life.
在新喜剧中，有两种一般的方式可以使恋人分开。在一种类型的故事中，我们看到一对男女主人公热切地渴望结婚，但却被自私无情的父亲阻止，直到最后事情的真相曝光，说服他撤回了对这桩婚事的反对。在另一种故事中，中心冲突在于恋人之间的争吵。这总是基于一些可怕的误解（在《新喜剧》中，总是由男主人公以某种方式错误地判断了女主人公，从而冤枉了女主人公），直到最终真相大白，消除了误解。愤怒的英雄悔悟，恋人和解，恢复团结。
There are two general ways in the New Comedy in which the lovers may be thus kept apart. In one type of story we see a hero and heroine who passionately desire to get married but are being prevented from doing so by a selfish and unrelenting father, until finally something comes to light which persuades him to withdraw his opposition to the match. In the other kind of story, the central conflict lies in a quarrel between the lovers themselves. This is invariably based on some dreadful misunderstanding (in the New Comedy it is invariably the hero who is guilty of wronging the heroine, by misjudging her in some way), until finally something comes to light which clears the misunderstanding up. The angry hero is contrite, the lovers are reconciled and unity is restored.
除了爱情元素的重要添加（这使故事更加尖锐、更加个人化）之外，新喜剧的实际形式仍然与旧喜剧非常相似。这个故事仍然是关于冲突的解决：通过“认识”和内心的改变，某种黑暗和混乱的状态让位于和解与光明。在普劳图斯的《金罐》中，两个恋人被无情的父亲阻止结婚的典型故事，我们仍然离阿里斯托芬的世界不远。欧克利奥（Euclio）是一个脾气暴躁的老顽固，让人想起《黄蜂女》中的普罗克里昂（Procleon），只不过他的痴迷是囤积金钱而不是评判。他的女儿希望嫁给英雄利科尼德斯，但老守财奴坚持让她嫁给他的一位富有的朋友，为了钱。当欧克利奥失去了他最珍贵的财产——一桶金子时，他的黑暗状态变得更加黑暗。但当年轻的利科尼德斯发现黄金时，解决方案开始了，他将黄金提供给欧克利奥，以换取与他女儿结婚的许可。与普罗克利昂类似，老守财奴的心发生了变化，“看到了光明”，认识到他的贪婪使他变成了自私的怪物，不仅给了这对夫妇祝福，还给了金子。
Apart from the important addition of the love element (which gives the story a much sharper, more personal focus), the actual shape of the New Comedy thus remains very similar to that of the Old Comedy. The story is still about the resolution of a conflict: some state of darkness and confusion giving way, through ‘recognition’ and a change of heart, to reconciliation and light. In Plautus’s Aurularia (The Pot of Gold), a typical story of two lovers prevented from marrying by an unrelenting father, we are still not far from the world of Aristophanes. Euclio is an obsessive old curmudgeon, reminiscent of Procleon in The Wasps, except that his obsession is with hoarding money rather than judging. His daughter wishes to marry the hero Lyconides, but the old miser is insisting that she marry one of his rich friends, for money. Euclio’s state of darkness becomes even blacker when he loses his most precious possession, a pot of gold. But resolution begins when the gold is found by young Lyconides, who offers it to Euclio in return for permission to marry his daughter. In a change of heart similar to Procleon’s the old miser ‘sees the light’, recognises that his greed has turned him into a monster of selfishness, and not only gives the couple his blessing but the gold as well.
《新喜剧》中突出的第二个至关重要的要素涉及“承认”的性质，而《承认》的决议正是基于“承认”的性质。故事的转折：在改变心意才能为幸福结局铺平道路之前，必须发现或弄清楚事情的本质。其核心是揭示某人的身份与表面上看起来不同。
The second, crucially important element which came to the fore in the New Comedy concerned the nature of the ‘recognition’ on which the resolution of the story turns: the nature of what it is that has to be discovered or made clear before a change of heart can pave the way to a happy ending. This centres on the revelation that someone’s identity is different from what it seems.
在《仲裁》中米南德喜欢以恋人之间争吵为基础的故事类型，我们看到一对年轻的夫妇查里西奥斯和潘菲勒，他们因为结婚后不久潘菲勒生了一个孩子而变得严重疏远。孩子不知何故被处理掉了，但查里西奥斯对妻子婚前携带婴儿的证据非常愤怒，因此离开了她。当一个神秘的婴儿出现时，行动开始，伴随着各种令牌，包括一枚戒指。这对疏远夫妇的奴隶聚集在一起，发现了孩子的身份，并得出结论，孩子的父亲只能是查里西奥斯本人，正如他自己的私人奴隶所记得的那样，他将这枚特殊的戒指交给了他在掩护下与他做爱的一个不知名的女孩。结婚前的一个公共节日里一片漆黑。当奴隶们向查里西奥斯提出孩子是他的证据时，他陷入了悔恨之中。他意识到他因为自己犯下的罪行而斥责妻子，这极大地冤枉了她。但奴隶们随后告诉他，根据其他证据，他孩子的母亲不是别人，正是潘菲勒：换句话说，他在黑暗中强奸的女孩就是他未来的妻子。那个带来了所有麻烦的婴儿一直属于他们俩。有了这种“认可”，这对夫妇就幸福地和解了，奴隶们也获得了自由，戏剧在通常的庆祝活动中结束了。他意识到他因为自己犯下的罪行而斥责妻子，这极大地冤枉了她。但奴隶们随后告诉他，根据其他证据，他孩子的母亲不是别人，正是潘菲勒：换句话说，他在黑暗中强奸的女孩就是他未来的妻子。那个带来了所有麻烦的婴儿一直属于他们俩。有了这种“认可”，这对夫妇就幸福地和解了，奴隶们也获得了自由，戏剧在通常的庆祝活动中结束了。他意识到他因为自己犯下的罪行而斥责妻子，这极大地冤枉了她。但奴隶们随后告诉他，根据其他证据，他孩子的母亲不是别人，正是潘菲勒：换句话说，他在黑暗中强奸的女孩就是他未来的妻子。那个带来了所有麻烦的婴儿一直属于他们俩。有了这种“认可”，这对夫妇就幸福地和解了，奴隶们也获得了自由，戏剧在通常的庆祝活动中结束了。那个带来了所有麻烦的婴儿一直属于他们俩。有了这种“认可”，这对夫妇就幸福地和解了，奴隶们也获得了自由，戏剧在通常的庆祝活动中结束了。那个带来了所有麻烦的婴儿一直属于他们俩。有了这种“认可”，这对夫妇就幸福地和解了，奴隶们也获得了自由，戏剧在通常的庆祝活动中结束了。
In the Epitrepontes (The Arbitration) of Menander, who favoured the type of story based on a quarrel between the lovers themselves, we see a young husband and wife, Charisios and Pamphile, who have become violently estranged because, shortly after their wedding, Pamphile had given birth to a child. The baby has somehow been disposed of, but Charisios has been so enraged by this evidence of his wife’s premarital carrying-on that he has left her. The action begins when a mysterious baby turns up, accompanied by various tokens, including a ring. The slaves of the estranged couple get together to discover the child’s identity, and conclude that the baby’s father can only be Charisios himself who, as his own personal slave remembers, gave this particular ring to an unknown girl he had made love to under cover of darkness at a public festival before his marriage. When the slaves confront Charisios with the proof that the baby is his, he is overwhelmed with remorse. He realises that he had dreadfully wronged his wife by berating her for a crime of which he had been just as guilty himself. But the slaves then tell him that, on the evidence of the other tokens, the mother of his child can be no one other than Pamphile: in other words, the girl he had ravished in the darkness was his future wife. The baby whose arrival had caused all the trouble had belonged to them both all the time. With this ‘recognition’, the couple are joyfully reconciled, the slaves are rewarded with their freedom and the play ends in the usual general celebration.
我们认为这里出现的一个至关重要的、从现在开始在喜剧中越来越熟悉的元素是，故事中混乱的主要来源之一，也是角色之间团结的主要障碍之一，是他们在某种程度上不知道彼此的真实身份，也不知道自己的真实身份。这在阿里斯托芬身上已经萌芽（例如，欧里庇得斯和他的叔叔在《Thesmophoriazusae》中采用的伪装）。但现在它变得更加明确。“识别”过程中最重要的因素之一就是确定人的真实身份。只有弄清楚了每个人的真实身份，才能为最终的结合指明道路。
What we see emerging here as a crucial, and from now on increasingly familiar element in Comedy is that one of the chief sources of confusion in the story, and one of the chief obstacles to unity between the characters, is that they are in some way unaware of each other’s true identity, or indeed their own. This had already been embryonically present in Aristophanes (e.g., the disguises adopted by Euripides and his uncle in the Thesmophoriazusae). But it now becomes much more explicit. One of the most important ingredients in the process of ‘recognition’ becomes the establishing of who people really are. Only when everyone’s real identity has been sorted out can the way be made clear to the final union.
在喜剧中，我们几乎没有比这更常见的时刻了，令所有人惊讶的是，一个角色的真正起源实际上与人们普遍认为的完全不同：通常他或她实际上是长的- 社会地位较高的人丢失的孩子。当这一手法首次出现在《新喜剧》中时，几乎总是女主人公后来才被发现其社会出身比任何人都意识到的要高，从而消除了对她与男主人公结合的反对意见。在特伦斯的安德里亚例如，《安德罗斯的女人》中，主人公的父亲强烈反对他的儿子娶一位贫穷的妓女，直到后来发现她是他一位富有朋友失散多年的女儿。父亲当然很高兴，立刻撤回了对这场比赛的反对。
There is almost no moment we see more often in comedy than the discovery, to everyone’s astonishment, that the true origins of one of the characters are in fact quite different from what had been generally supposed: usually that he or she is in fact the long-lost child of someone of elevated social position. When this device first appeared in the New Comedy, it was almost invariably the heroine who was belatedly discovered to be of higher social origin than anyone had been aware of, thus dispelling the objections to her union with the hero. In Terence’s Andria (The Woman of Andros), for instance, the hero’s father is violently opposed to his son marrying a poor courtesan, until it is revealed that she is the long-lost daughter of one of his rich friends. The father is of course delighted and at once withdraws his opposition to the match.
对新喜剧来说如此重要的是对人们真实身份的无知以及需要确定每个人的真实身份作为解决方案的前奏有些戏剧几乎不关心其他事情：甚至爱情兴趣也屈居第二，或者完全消失。例如，普劳图斯的《梅纳奇米》 ，莎士比亚的《错误喜剧》就是以此剧为基础的，也许介绍了因身份错误而引起的混乱的最终变体：两个同卵双胞胎不断被误认为对方的故事，而双方都不知道对方的存在。主人公来到一个陌生的小镇，寻找失散多年的双胞胎兄弟索西克勒斯，此时，索西克勒斯在与妻子争吵后，冲出家门，去投靠情妇。随着这对双胞胎不断被其他人误认为对方：索西勒斯的妻子、情妇、仆人和朋友，争议性的误解也随之加剧。直到混乱到了绞杀的地步，索西克勒斯即将被当作疯子逮捕时，兄弟俩才终于面对面。‘承认’让所发生的一切都变得清晰，
So important to the New Comedy was this element of ignorance as to people’s true identity and the need to establish who everyone really is as a prelude to resolution that some plays were concerned with very little else: even the love interest taking second place, or disappearing altogether. Plautus’s Menaechmi, for instance, the play on which Shakespeare was to base his Comedy of Errors, introduces perhaps the ultimate variation on the confusion arising from mistaken identity: the story of two identical twins being repeatedly taken for each other without either being aware of the other’s existence. The hero arrives in a strange town, looking for his long-lost twin brother Sosicles, at just the moment when, after a row with his wife, Sosicles is storming out of his house to take refuge with his mistress. There follows a crescendo of increasingly contentious misunderstanding as the twins are constantly mistaken for each other by everyone else: Sosicles’s wife, mistress, servants and friends. Only when the knot of confusion has reached strangulation point, with Sosicles about to be arrested as a madman, are the brothers finally brought face to face. ‘Recognition’ makes clear all that has happened, and the play ends on the usual note of rejoicing: although noticeably the central point of union is the bringing together of the two long-parted brothers, rather than the reconciliation of Sosicles with his wife.
到公元前二世纪古典舞台喜剧的伟大时代结束时，许多基本特征已经确立，这些特征将成为接下来两千多年喜剧的支柱。甚至连故事本身也被重新演绎，以娱乐后世的观众。莫里哀在他的《守财奴》中改编了《Aurularia》；而梅纳奇米的直系后代不仅包括莎士比亚的版本，还包括二十世纪劳莱和哈代的电影《我们的关系》和成功的百老汇音乐剧《锡拉丘兹男孩》。
By the end of the great age of classical stage Comedy in the second century BC, many of the basic features had already been established which were to be the mainstays of Comedy for the next two thousand years. Even the stories themselves were to be revived to entertain audiences of later ages. Molière was to adapt the Aurularia in his L’Avare (The Miser); while the Menaechmi’s direct descendants have included not only Shakespeare’s version, but in the twentieth century a Laurel and Hardy film Our Relations and a successful Broadway musical, The Boys from Syracuse.
然而，在希腊罗马世界终结之前，喜剧史上还有一个里程碑，对后世具有重要意义。这是情节第一次离开舞台，成为另一种讲故事方式的灵感的时刻。公元二世纪和三世纪，流行一种新的散文故事。有时被称为“第一部小说”，这些有些耸人听闻的冒险故事，以男女主人公为中心，但它们的情节遵循着熟悉的套路。正如一位权威人士所说：
Before the Graeco-Roman world came to an end, however, there was a further landmark in the history of Comedy which was to have significance for later ages. This was the moment when, for the first time, the plot moved off the stage to become the inspiration for another kind of storytelling altogether. In the second and third centuries AD there was a vogue for a new kind of prose story. Sometimes described as ‘the first novels’, these were somewhat lurid tales of adventure, centred on a hero and heroine – but their plots followed a formula with a familiar ring. As one authority puts it:
“通常的模式是，男女主人公在开头几段中彼此相爱，然后因一长串“感动的意外”而分开，最后重逢，带来幸福的结局。” 2
‘the usual pattern is that the hero and heroine fall in love with each other in the opening paragraphs, are separated by a long series of “moving accidents”, and are finally reunited to provide the happy ending.’2
朗格斯的《达夫尼斯和克洛伊》无疑是后来基于喜剧情节的许多小说和浪漫小说的先驱中最著名的（也是最不轰动的）。。这要从牧羊人在乡村庄园中发现两个婴儿开始，每个婴儿都附有令牌。这种最初出现在神话和很久以前的喜剧中的标志，仅仅提及这些标志，当然就意味着故事的解决最终将取决于婴儿真实身份的发现。男孩达夫尼斯和女孩克洛伊分别被一个牧羊人家庭收养。他们在田园纯真中一起长大，坠入爱河，从那时起，故事的全部悬念就在于他们如何克服一系列障碍，最终结合。首先，两人依次被不同的绑匪绑架，并设法逃脱。然后克洛伊的父母登广告为她寻找一位富有的追求者，这似乎排除了贫穷的达夫尼斯——直到他在梦中被告知到哪里可以找到赢得他们认可所需的钱。他这样做了，故事进行到一半时，这对夫妇似乎即将结婚。但随后，就像白手起家的故事一样（这个故事有强烈的白手起家的味道），“中心危机”介入了。庄园富主的儿子从城里赶来，达芙尼斯的养父母抓住这个机会，拿出了他婴儿时期发现的信物。让除了达夫尼斯和克洛伊本人之外的所有人都感到惊讶和高兴的是，人们发现达夫尼斯是庄园主失散多年的儿子。恋人们心碎了，因为他们似乎即将永远分开。达夫尼斯现在不能娶一个单纯的牧羊女。但就在英雄被带到城市开始他宏伟的新生活之前，克洛伊的养父母灵机一动，为她制作了信物，这似乎表明她可能也出身高贵。她也加入了这座城市的派对，庄园主为城里所有最富有的人举办了一场盛宴。果然，当克洛伊的信物被转交时，最富有的客人意识到她一定是他失散多年的女儿。由于发现了他们的真实身份（双方的出身都比想象中的高贵，这是罕见的事例），这对欣喜若狂的夫妇结合的所有障碍终于被消除了。她也加入了这座城市的派对，庄园主为城里所有最富有的人举办了一场盛宴。果然，当克洛伊的信物被转交时，最富有的客人意识到她一定是他失散多年的女儿。由于发现了他们的真实身份（双方的出身都比想象中的高贵，这是罕见的事例），这对欣喜若狂的夫妇结合的所有障碍终于被消除了。她也加入了这座城市的派对，庄园主为城里所有最富有的人举办了一场盛宴。果然，当克洛伊的信物被转交时，最富有的客人意识到她一定是他失散多年的女儿。由于发现了他们的真实身份（双方的出身都比想象中的高贵，这是罕见的事例），这对欣喜若狂的夫妇结合的所有障碍终于被消除了。
Easily the best-known (and least sensational) of these forerunners of the many novels and romances which in later times were to be based on the Comedy plot is Longus’s Daphnis and Chloe. This begins with the discovery by shepherds on a country estate of two babies, each accompanied by tokens. The mere mention of such tokens, a device originally found in mythology and long preceding Comedy, of course signals that the resolution of the story will eventually hang on the discovery of the babies’ true identities. The boy Daphnis and the girl Chloe are each adopted by a shepherd family. They grow up together in pastoral innocence, fall in love and from then on the entire suspense of the story lies in how they can overcome a long series of obstacles to their final union. First, each of the two are abducted in turn by a different set of kidnappers, and manage to escape. Then Chloe’s parents advertise for a rich suitor for her hand, which seems to rule out the impoverished Daphnis – until he is told in a dream where to find the money necessary to win their approval. He does so and halfway through the story it seems as though the couple are about to get married. But then, just as in a Rags to Riches story (there is a strong Rags to Riches flavour about this tale), a ‘central crisis’ intervenes. The son of the rich owner of the estate arrives from the city, and Daphnis’s foster-parents seize this opportunity to produce the tokens found with him as a baby. To the astonishment and delight of everyone except Daphnis and Chloe themselves, it is discovered that Daphnis is the estate owner’s long-lost son. The lovers are heartbroken, because it seems they are about to be torn apart forever. Daphnis cannot now marry a mere shepherd girl. But just before the hero is taken away to the city to begin his grand new life, Chloe’s foster-parents have the bright idea of producing her tokens, which seem to indicate that she may also be of high-born origin. She too joins the party for the city, where the estate owner holds a feast for all the richest men in town. Sure enough, when Chloe’s tokens are handed round, the richest guest of all recognises that she must be his long-lost daughter. Thanks to the discovery of their true identities (a rare instance of both parties turning out to be of nobler birth than had been supposed), all obstacles to the union of the overjoyed couple have at last been removed.
这篇微妙对称的文章讲述了发现自己的真实身份作为从此幸福生活的先决条件的重要性，古典世界或多或少告别了喜剧主题。情节演变的第三个也是最后一个阶段在一千多年后才展开。
With this delicately symmetrical essay on the importance of discovering who you really are as a precondition to living happily ever after, the classical world more or less bade farewell to the theme of Comedy. The third and final stage in the evolution of the plot was not to unfold for well over a thousand years.
第三阶段：莎士比亚
Stage three: Shakespeare
尽管喜剧情节并未从中世纪的西方叙事中消失（毕竟，其最著名的诗歌被明确命名为“喜剧”），但直到田园浪漫主义中古典传统有意识地复兴之后，喜剧情节才从西方叙事中消失。以及文艺复兴时期的舞台喜剧，使其重新回到早期的辉煌。当它这样做时，一个极其重要的新维度开始被添加到故事中，从某种意义上说，使情节变得完整。没有什么地方比 16 部喜剧更能清楚地说明这一点了。莎士比亚（几乎是他戏剧作品的一半），在探索典型喜剧情节的全方位方面，他比之前或之后的任何作家都做得更多。
Although the Comedy plot by no means disappeared from Western storytelling during the Middle Ages (whose most famous poem, after all, was explicitly given the name of ‘Comedy’), it was not until the conscious revival of the classical tradition in the pastoral romances and stage comedies of the Renaissance that it swept back to its earlier prominence. When it did so, an extremely important new dimension began to be added to the story which, in a sense, made the plot complete. Nowhere can we see this more clearly illustrated than in the 16 comedies of Shakespeare (nearly half his dramatic output), who did more to explore the full range of the archetypal comic plot than any author before or since.
当我们在古典世界的喜剧之后看到莎士比亚的早期喜剧时，首先让我们震惊的是他们的故事变得多么丰富和复杂：就像文艺复兴时期的复调音乐在单行旋律之后的素歌一样。我们可以在他的第一部喜剧《错误的喜剧》中尤其生动地看到这一点，因为我们可以将其直接与普劳图斯的《梅纳奇米》进行对比，它是以此为基础的。但原来简单的故事却发生了多么大的转变啊。普劳图斯只集中于一条线索的误解，最终导致了久别重逢的兄弟的一次团聚，而莎士比亚的版本则通过一系列次要主题和次要情节丰富了这一点，最终他可以向我们呈现积极的连锁反应额外的工会和团聚。以弗所·安提福勒斯（Ephesian Antipholus）的兄弟，其婚姻争吵一直持续到整部剧，现在他与妻子和解了。他的孪生兄弟叙拉古·安提福勒斯爱上了妻子的妹妹：所以这部剧可以在即将举行的婚礼的响亮旋律中结束。兄弟的两个仆人也团聚了，他们是另一对同卵双胞胎，他们因与主人分开的同一次海难而分开。除此之外，两位安提福卢斯不仅与他们失散多年的父亲重聚（他的生命在戏剧开始时就受到威胁，现在幸免于难），而且还与他们同样失散多年的母亲重聚，后者戏剧性地再次出现。在戏剧的高潮时。因此，在最后，我们看到至少七个不同的、情感深厚的结合或团聚（包括整个家庭的结合或团聚），涉及一群以前彼此分离或分裂的人。那些被分裂和孤立的人们聚集在一起的宇宙感觉再完美不过了。他在戏剧的高潮处戏剧性地再次出现。因此，在最后，我们看到至少七个不同的、情感深厚的结合或团聚（包括整个家庭的结合或团聚），涉及一群以前彼此分离或分裂的人。那些被分裂和孤立的人们聚集在一起的宇宙感觉再完美不过了。他在戏剧的高潮处戏剧性地再次出现。因此，在最后，我们看到至少七个不同的、情感深厚的结合或团聚（包括整个家庭的结合或团聚），涉及一群以前彼此分离或分裂的人。那些被分裂和孤立的人们聚集在一起的宇宙感觉再完美不过了。
The first thing which may strike us when we look at the early comedies of Shakespeare after those of the classical world is how much richer and more complex their stories have become: like the textures of Renaissance polyphony after the single-line melodies of plainsong. We can see this particularly vividly in what was probably his first comedy, The Comedy of Errors, because we can contrast it directly with Plautus’s Menaechmi, on which it was based. But what a transformation has been wrought in the original simple tale. Whereas Plautus concentrated on just a single thread of misunderstandings, culminating in the one reunion of the long-separated brothers, Shakespeare’s version enriches this with such a tapestry of subsidiary themes and sub-plots that by the end he can present us with a positive cascade of additional unions and reunions. Ephesian Antipholus, the brother whose marital quarrel has lasted throughout the play, is reconciled with his wife. His twin, Syracusan Antipholus, has fallen in love with the wife’s sister: so the play can end on the full resounding note of an impending wedding. Also reunited are the brother’s two servants, another pair of identical twins who had been separated by the same shipwreck which parted their masters. In addition to all this the two Antipholuses are reunited not only with their long-lost father (whose life at the start of the play had been threatened and is now spared) but also with their equally long-lost mother, who makes a dramatic reappearance at the play’s climax. Woven together at the end we thus see no less than seven different, deeply emotional unions or reunions (including that of an entire family), involving a group of people who had all previously been separated or divided from one another. The sense of a kind of cosmic gathering together of those who had been sundered and isolated could hardly be more complete.
然而，正是在他的其他早期喜剧中，莎士比亚开始探索额外的维度，即以古典世界未曾梦想过的方式扩展情节的范围。
It was really in his other early comedies, however, that Shakespeare began to explore that added dimension which was to extend the range of the plot in a way the classical world had not dreamed of.
人们会记得，在古典喜剧中，一个故事中只有一对中心恋人，他们最初的“配对”在故事开始之前就已经发生了（或者至少在后来的浪漫故事中，在“开头段落'）。简而言之，我们从一对已经确定的恋人开始，故事的主要问题是克服一些已经出现的障碍——无情的父亲或争吵——以确认他们的结合。
In classical Comedy, it will be recalled, there had only been one central pair of lovers in a story, and their initial ‘pairing off’ had already taken place before the story opened (or at least, in the later romances, in ‘the opening paragraphs’). We begin, in short, with a pair of already established lovers, and the chief problem of the story is to surmount some obstacle which has arisen – an unrelenting father or a quarrel – to the confirming of their union.
然而，在《驯悍记》和《爱的劳作》这样的戏剧中，我们看到了一些非常重要的事情发生。我们不再从一对既定的恋人开始。可以说，焦点已经倒退到了这一过程的早期阶段：回到最初将恋人聚集在一起的求爱。在这两部剧的第一部的开头，我们遇到了脾气暴躁的泼妇卡塔琳娜，她认为没有男人配得上她：故事讲述了主人公，冷静的彼特鲁乔，如何开始打破她的任性，首先她接受他作为情人，然后软化并驯服她成为一个尽职的新娘。在第二部中，我们看到不少于四个英俊的年轻人，他们发誓要一无所有与女人有关的是，当她们偶然遇到四位漂亮的年轻女子时，她们被软化了，违背了她们的誓言，她们在最初表现出不情愿后，最终接受了她们。
In plays like The Taming of the Shrew and Love’s Labours Lost, however, we see something very significant happening. We no longer begin with a pair of established lovers. The focus has moved backwards, as it were, to an earlier stage of the process: to the wooing which brings the lovers together in the first place. At the start of the first of these two plays we meet the ill-tempered shrew Katharina who thinks no man good enough for her: and the story tells of how the hero, the imperturbable Petruchio, sets out to break her wilfulness, first to make her accept him as a lover and then to soften and tame her into a dutiful bride. In the second we see no fewer than four handsome young men, who have vowed to have nothing to do with women, being softened into breaking their vow when by chance they run into four attractive young women who, after an initial show of reluctance, finally accept them.
因此，故事的主要情节转移到了配对过程本身。在他剩下的两部早期喜剧中，莎士比亚将这一点进一步推向了一个关键阶段。至少在《驯悍记》和《爱的劳动的失败》中，一旦行动开始，我们就不会真正怀疑哪个年轻人最终会和哪个年轻女子在一起。但在《维罗纳二绅士》中（根据十六世纪早期的意大利浪漫故事改编），情节发生了进一步的转折。我们从一对看似已经确定的恋人普罗透斯和朱莉娅开始。而普罗透斯的朋友瓦伦丁前往米兰并爱上了公爵的女儿西尔维娅。但后来普罗透斯本人来到了米兰，也爱上了西尔维娅。因此，两个年轻人现在都爱上了同一个年轻女子。普罗透斯被新的迷恋所迷惑，变成了一个黑暗人物，并向西尔维娅的父亲瓦伦丁透露了与她私奔的计划，从而加倍背叛了他的朋友。瓦伦丁被放逐，普罗透斯得以自由地继续追求不情愿的西尔维娅。当普罗透斯的初恋朱莉娅乔装成男孩来到米兰并成为他的侍从时，情况变得更加复杂。西尔维娅逃往她真正爱的男人身边，瓦伦丁被强盗抓获，并被普罗透斯救出。瓦伦丁正要承认普罗透斯娶她的权利，这时朱莉娅说出了她的真实身份，责备普罗透斯缺乏忠诚。这终于打破了困扰普罗透斯的黑暗咒语。他“醒悟过来”，和瓦伦丁和好，这对恋人终于可以幸福地成对了：普罗透斯和朱莉娅，瓦伦丁和西尔维娅。
The main action of the story has thus shifted to the pairing off process itself; and in his two remaining early comedies Shakespeare takes this a crucial stage further. At least in The Taming of the Shrew and Love’s Labour’s Lost we are never in real doubt, once the action has begun, which young man is eventually going to end up with which young woman. But in The Two Gentlemen of Verona (based on an early sixteenth-century Italian romance), a further twist enters the plot. We begin with a pair of seemingly established lovers, Proteus and Julia; while Proteus’s friend Valentine goes off to Milan and falls in love with the Duke’s daughter Silvia. But then Proteus himself comes to Milan and also falls in love with Silvia. Thus both young men are now in love with the same young woman. Possessed by his new infatuation, Proteus then becomes a dark figure and proceeds doubly to betray his friend, by revealing to Silvia’s father Valentine’s plan to elope with her. Valentine is banished, leaving Proteus free to continue his wooing of the reluctant Silvia. The situation becomes still more complicated when Proteus’s original love Julia arrives in Milan, disguised as a boy, and becomes his page. Silvia flees to join the man she really loves, Valentine, but is captured by robbers – and rescued by Proteus. Valentine is just about to concede Proteus the right to marry her when Julia speaks up in her true identity, reproaching Proteus for his lack of fidelity. This finally breaks the dark spell which has bewitched Proteus. He ‘comes to himself’, makes up his quarrel with Valentine, and the lovers can at last pair off properly and happily: Proteus with Julia, Valentine with Silvia.
如果我们感觉到，在某些重要的方面，喜剧终于以我们从那时起就知道的形式出现了（顺便说一句，产生了有史以来最难以理解的文学形式，即情节摘要）任何基于“爱情纠葛”的戏剧或喜剧），莎士比亚早期喜剧的最后一部《仲夏夜之梦》强调了这一点，我们看到同样的纠缠被毫不费力地处理，这表明他达到了他的目的作为一个讲故事的人完全成熟。
If we have the sense that, in some important respect, Comedy is here at last coming into its own in a form in which we have known it ever since (incidentally giving rise to the most incomprehensible form of literature ever devised, the plot-summary of any play or comic opera based on a ‘love tangle’), this is underlined by the last of Shakespeare’s early comedies, A Midsummer Night’s Dream, where we see the same kind of tangle handled with the effortless ease which showed him arriving at his full maturity as a storyteller.
当故事开始时，我们遇到了两个年轻男子和两个年轻女子，他们处于极度痛苦和困惑的状态。两个年轻人，拉山德和德米特里厄斯，都爱上了同一个年轻女子赫米亚。赫米亚爱拉山德并希望嫁给他，但她“无情”的父亲埃吉斯希望她嫁给德米特里厄斯。另一方面，她的朋友海伦娜爱德米特里厄斯，但没有得到爱的回报。然后，四人进入神秘的“雅典附近的树林”，仙王奥布朗和他善变的特工帕克开始处理事情。但他们的魔法的第一个结果只是让事情变得更糟。通过拙劣的魔法，帕克不仅成功说服德米特里厄斯将自己的感情转移到海伦娜身上，还说服了拉山德。这使得赫米亚不再受到任何人的爱，海伦娜确信这三个人一定是在捉弄她。现在每个人都与其他人不和。然而，要达成一个圆满的解决方案，所需要的只是帕克安排拉山德将他的爱转回到赫米亚身上。这使得德米特里厄斯爱上了海伦娜，海伦娜现在承认他的感情是真的。两对情侣最终配对，可以从森林中出来，与忒修斯公爵和希波吕忒一起享受三人婚礼的欢乐前景。
When the story opens we meet two young men and two young women in a state of intense misery and confusion. The two young men, Lysander and Demetrius, are both in love with the same young woman, Hermia. Hermia loves Lysander and wishes to marry him, but her ‘unrelenting’ father Egeus wants her to marry Demetrius. Her friend Helena, on the other hand, loves Demetrius but is not loved in return. The foursome then enters the mysterious ‘wood near Athens’, where the fairy king Oberon and his mercurial agent Puck get to work sorting things out. But the first result of their enchantments is only to make things worse. By bungling his magic, Puck not only manages to persuade Demetrius to transfer his affections to Helena, but Lysander as well. This leaves Hermia loved by no one, and Helena convinced that all three must be playing a trick on her. Everyone is now at odds with everyone else. All that is required for a happy resolution, however, is for Puck to arrange that Lysander to switch his love back to Hermia. This leaves Demetrius loving Helena, who now accepts that his affection is genuine. The two couples, at last properly paired off, can emerge from the forest to join Duke Theseus and Hippolyta in the joyful prospect of a triple wedding.
这种令人眼花缭乱的旋转木马的新颖之处在于，故事的大部分内容现在可能不仅涉及如何将恋人聚集在一起，而且还解决更基本的问题，即谁应该最终在一起和谁一起。换句话说，与古典世界的简单公式相比，古典世界只关心恋人建立爱情后可能面临的陷阱，喜剧现在已经开放，包括在他们建立爱情之前可能出现的所有混乱的可能性。最后配对结束。一方面，这可能只是两个恋人最初求爱时的不确定性，因为他们第一次接受自己的爱并学会接受对方。另一方面，它还可能包括当爱情变得不稳定或片面时可能出现的所有更大的复杂性，例如当一个人对另一个人的爱最初是无回报的；或者当一个恋人开始爱一个人，然后转向另一个人（并且经常会再次回来）；或者当两个男人爱上同一个女人时；或者两个女人和同一个男人。事实上，喜剧的范围已经扩大，不仅是莎士比亚，而且在整个文艺复兴时期的文学中，几乎涵盖了人类爱情经历中可能的每一种组合和排列。事实上，它造成混乱的可能性已经完全形成。因此，我们可以开始比以往更清楚地看到喜剧情节的真实本质。然后切换到另一个（并且经常会再次返回）；或者当两个男人爱上同一个女人时；或者两个女人和同一个男人。事实上，喜剧的范围已经扩大，不仅是莎士比亚，而且在整个文艺复兴时期的文学中，几乎涵盖了人类爱情经历中可能的每一种组合和排列。事实上，它造成混乱的可能性已经完全形成。因此，我们可以开始比以往更清楚地看到喜剧情节的真实本质。然后切换到另一个（并且经常会再次返回）；或者当两个男人爱上同一个女人时；或者两个女人和同一个男人。事实上，喜剧的范围已经扩大，不仅是莎士比亚，而且在整个文艺复兴时期的文学中，几乎涵盖了人类爱情经历中可能的每一种组合和排列。事实上，它造成混乱的可能性已经完全形成。因此，我们可以开始比以往更清楚地看到喜剧情节的真实本质。实际上，已经完成了。因此，我们可以开始比以往更清楚地看到喜剧情节的真实本质。实际上，已经完成了。因此，我们可以开始比以往更清楚地看到喜剧情节的真实本质。
What is new about this sort of dizzying merry-go-round is that so much of the story may now be taken up not just with how the lovers can be brought together, but in sorting out the even more basic question of who should end up with whom. In other words, compared with the simple formulae of the classical world, which were solely concerned with the pitfalls which may await lovers after they have established their love, Comedy has now been opened up to include all the possibilities for confusion which may arise before their final pairing off. On the one hand this may simply consist of the uncertainties attending the initial wooing of two lovers, as they first come to terms with their love and learn to accept each other. On the other, it may also include all the vastly greater complications which can arise when love proves inconstant or one-sided, such as when one person’s love for another is initially unrequited; or when a lover begins by loving one person, then switches to another (and not infrequently back again); or when two men are in love with the same woman; or two women with the same man. What has happened, in fact, is that the range of Comedy has been extended, not just by Shakespeare, but in Renaissance literature generally, to include virtually every combination and permutation possible in the human experience of love. Its potential for confusion has, in effect, been made complete. As a result we can begin to see more clearly than ever before the true nature of the Comedy plot.
喜剧：第一个摘要
Comedy: a first summary
当我们面对一部成熟的喜剧时，我们所看到的与拼图游戏没什么不同。当拼图完成时，很明显它只能以一种方式结束，即每块拼图都处于适当的位置并与其他所有拼图完美地结合在一起。但在早期，当所有的碎片还处于混乱且相互分离的状态，并且当每件碎片上的画面的意义还不清楚时，它看起来并不那么明显。必须确定的是每件作品的确切性质：它本身代表什么，以及它如何与所有其他作品结合在一起，作为一个逐渐出现的整体的一部分。在喜剧中，揭示这一点的关键是“识别”的过程。
What we are looking at when confronted by a fully developed Comedy is not unlike a jigsaw puzzle. By the time a jigsaw is complete, it seems obvious that there is only one way it could have ended up, with each piece in its proper place and fitting perfectly together with all the others. But it has not looked so obvious at an earlier stage when all the pieces were still muddled up and separate from each other, and when the significance of the fragment of picture on each piece was still unclear. What has had to be established is the precise nature of each piece: both what it stands for in itself and how it fits together with all the others, as part of a gradually emerging whole. In Comedy, the key to bringing this to light is the process of ‘recognition’. And we can now see how the ‘recognition’ in a fully-developed comedy may involve four inter-related ingredients, all working together.
首先，任何因为被囚禁在某种艰难、分裂、无爱的状态——愤怒、贪婪、嫉妒、泼辣、不忠诚、自以为是或其他什么——而变得黑暗的角色必须通过某种自我行为来软化和解放。认可和内心的改变。他们实际上必须成为一个“新的”或不同的人（“醒悟过来”），如果他们不以这种方式改变，唯一的选择，正如我们很快就会看到的，是他们至少应该出现并获得报酬通过惩罚或普遍的嘲笑，他们就不能再对他人造成伤害。
The first is that any characters who have become dark because they are imprisoned in some hard, divisive, unloving state – anger, greed, jealousy, shrewishness, disloyalty, self-righteousness or whatever – must be softened and liberated by some act of self-recognition and a change of heart. They must in effect become a ‘new’ or different person (‘come to themselves’) and if they do not change in this way, the only alternative, as we shall shortly see, is that they shall at least be shown up and paid out, by punishment or general derision, so they can no longer cause harm to others.
其次，可能有必要以更字面的意义揭示一个或多个角色的身份。他们被发现不是人们想象的那样。
Secondly it may be necessary for the identity of one or more characters to be revealed in a more literal sense. They are discovered to be someone other than had been supposed.
第三，在相关的情况下，角色必须发现他们应该与谁配对，他们真正的“另一半”，因为在这一点确定之前，他们似乎迷失和不完整。因此，认识到自己的“另一半”成为发现自己完整身份的重要组成部分。
Thirdly, where relevant, the characters must discover who they are meant to pair off with, their true ‘other half’, since until this is established they seem lost and incomplete. Recognition of their ‘other half’ thus becomes an essential part of discovering their own complete identity.
最后，一般来说，凡是有分裂、分离或损失的地方，都应予以修复。家庭将团聚，丢失的物品将被找到，被篡夺的王国将被重建。任何不合适或有问题的东西都必须恢复。
Finally and in general, wherever there is division, separation or loss, it shall be repaired. Families shall be reunited, lost objects found, usurped kingdoms re-established. Whatever is out of place or sick must be restored.
因此，“从无知到知识的转变”在每种情况下都成为从分裂到整体、从黑暗到光明的转变，我们可以这样列出喜剧四个成分的“之前”和“之后”状态：
The ‘change from ignorance to knowledge’ thus becomes in each case a transition from division to wholeness, from darkness to light, and we can set out the ‘before’ and ‘after’ states of the four ingredients in Comedy like this:
黑暗的 Dark |
光 Light |
一个或多个角色被困在某种黑暗状态中，这种状态将阴影投射到其他角色身上。 One or more characters are trapped in some dark state which throws its shadow over others. |
他们要么改变主意，要么被揭露并受到惩罚。 They either go through a change of heart or are exposed and punished. |
一个或多个角色的身份或真实本质是隐藏的或不清楚的。 The identity or true nature of one or more characters is hidden or unclear. |
他们的真实身份或本性被揭露。 Their true identities or nature are revealed. |
恋人仍然处于不确定的状态：例如，他们因误会而分开，或者仍在配对过程中。 Lovers are still in a state of uncertainty: e.g., they are separated by a misunderstanding or are still in the process of pairing off. |
每个恋人都与他或她的“另一半”结合在一起。 Each lover is united with his or her ‘other half’. |
家庭分裂，事情“不正常”。 Families are divided and things are ‘not as they should be’. |
家人团聚，一切都恢复原状 Families are reunited and everything is restored to its proper place |
换句话说，为了爱与和解取得胜利，必须发现所有角色的真实身份以及他们如何和谐地结合在一起。因此，这种“认识”之前的混乱可以被视为一种黄昏，其特点是人们对彼此和自己的真实身份认识不足：这就是为什么喜剧的一个显着特征是身份的模糊。 ，不仅仅是因为对出生的无知，而是因为伪装、模仿和角色相互误认等手段。
In other words, for love and reconciliation to triumph, it must be discovered who all the characters really are and how they fit harmoniously together. The confusion which precedes this ‘recognition’ can thus be seen as a kind of twilight, marked by the fact that people are insufficiently aware of each other’s and their own true identity: which is why such a conspicuous feature of Comedy is the obscuring of identities, not just through ignorance of birth, but through the whole repertoire of such devices as disguises, impersonations and characters being mistaken for each other.
在一部喜剧中，我们可以确定的一件事是，只有当每个人都出现在阳光下，所有的伪装都被抛弃，角色看起来不再是他们本来的样子时，幸福的结局才能达到。 。在莎士比亚的其余喜剧中，我们看到他以一种特别具有启发性的方式在情节中发展了这一元素。
The one thing of which we can be certain in a Comedy is that the happy ending cannot be reached until everyone has emerged into the full light of day, all disguises are thrown off and the characters no longer seem to be anything other than what they are. In the remainder of Shakespeare’s comedies we see him developing this element in the plot in a particularly revealing way.
被掩盖的女主角
The obscured heroine
衡量莎士比亚对喜剧情节的丰富程度的衡量标准是将他的喜剧与同时代的本·琼森的喜剧进行对比。鉴于莎士比亚喜剧的乐趣在于展示一群人最终被提升到光明中，随着故事中黑暗的力量被驱散，琼森的戏剧的幽默感来自于更明显地集中于黑暗人物的邪恶。位于沃尔波内影片中，一位富有的老威尼斯人与他的同伙莫斯卡密谋，假装自己临死在床，欺骗了一系列容易上当受骗的傻瓜。每个受害者都被说服认为他可能是沃尔蓬财产的选定继承人，因此试图通过给他一件礼物来讨好这个老流氓。随后，沃尔波内很高兴地宣布他已将所有财产转交给莫斯卡，让他们感到不安。但莫斯卡本人随后又试图通过敲诈沃尔波尼来欺骗他。这激怒了沃尔波内，他愚蠢地向当局投诉，结果整个故事被曝光。该剧的结局只是表明两个恶棍因他们邪恶的游戏而被判处可怕的惩罚。
A measure of just how richly Shakespeare developed the Comedy plot is to contrast his comedies with those of his contemporary Ben Jonson. Whereas the joy of a Shakespearean Comedy is to show a group of people all being finally lifted up into the light, as the powers of darkness in the story are dispelled, Jonson’s plays derive their humour from concentrating far more obviously just on the devilry of the dark figures. In Volpone, a rich, elderly Venetian conspires with his confederate Mosca to trick a series of gullible fools by pretending that he is on his death bed. Each of the victims is persuaded to think he may be the chosen heir to Volpone’s fortune, and therefore tries to ingratiate himself with the old rogue by giving him a present. Volpone then enjoys discomfiting them by announcing that he has made over all his estate to Mosca instead. But Mosca himself then tries to trick Volpone in turn, by blackmailing him. This so angers Volpone that he foolishly complains to the authorities, with the result that the whole story comes out. The play’s ending simply shows both villains being paid out for their wicked game by being sentenced to fearful punishments.
因此，正如我们一直在审视的那样，沃尔波内几乎不是喜剧的一个例子。作为决议的前奏，黑暗人物并没有经历任何内心的改变。他们只是被羞辱并被捆绑下舞台。同样，当他们的黑暗力量被推翻时，整个社区都从阴影中走出来，共同庆祝男女主人公的爱的结合，这是没有意义的。琼森笔下的几乎所有角色都表现出以自我为中心、阴暗的一面。故事的焦点完全在于他们的贪婪、虚荣、愚蠢和欺骗最终如何被揭露。在《炼金术士》中琼森同样展示了一群无赖，在狡猾而厚颜无耻的“脸”的带领下，密谋欺骗各种容易受骗的傻瓜交出他们的钱财，并利用“脸”的主人洛夫维特暂时离开伦敦期间的房子作为他们的总部。当洛夫维特意外回归时，阴谋者最终再次被抓获。尽管这一次他们逃脱了惩罚，部分原因是洛维特名副其实，对仆人的聪明才智表现出了纵容的钦佩；部分原因是菲斯说服他接受受害者之一、富有的寡妇普莉安特作为妻子。至少，这部剧的结局保留了传统幸福结局的痕迹，洛夫维特和普莱恩特幸福地走到了一起。但即将到来的婚姻的最终画面几乎不标志着该剧所讲述的一切的胜利解决。
Volpone is thus scarcely an example of Comedy, as we have been looking at it. The dark figures do not go through any change of heart as a prelude to the resolution. They are merely held up to ignominy and bundled off stage. Equally, there is no sense, as their dark powers are overthrown, of a whole community emerging from the shadows, joining together in joyful celebration round the loving union of a hero and heroine. Almost all Jonson’s characters are shown as self-centred and dark. The focus of the story is entirely on how their greed, vanity, folly and deceit are finally exposed. In The Alchemist Jonson similarly shows a bunch of rogues, led by the cunning and cheeky Face, conspiring to trick various gullible fools into parting with their money, using as their headquarters the house of Face’s master Lovewit during his temporary absence from London. Again the conspirators are eventually caught out, when Lovewit unexpectedly returns; although this time they escape punishment, partly because Lovewit lives up to his name by showing indulgent admiration for his servant’s ingenuity; and partly because Face persuades him to accept one of the victims, the rich widow Pliant, as a wife. At least the play thus ends with a vestige of the conventional happy ending, as Lovewit and Pliant are happily brought together. But this final image of an impending marriage scarcely marks the triumphant resolution of everything the play has been about. It is merely tacked on at the end as a convenient device to round off the story.
与莎士比亚喜剧的多层次复杂性相比，琼森式的版本只关注整个故事的一个方面，只不过是对人性阴暗面的讽刺。莎士比亚喜剧的辉煌之处不仅在于他如此快乐地展现了情节的积极方面，还在于它们如何被视为情节可以提供的几乎所有变化的选集。他不断地在每一种可以想象的组合中重新调整相同的基本情境和主题，首先阐明情节的一个方面，然后阐明另一个方面。然而，从他职业生涯的中期开始，我们看到了一种非常一致的模式正在出现。
Compared with the many-layered complexities of Shakespearean Comedy, the Jonsonian versions, by concentrating on just one aspect of the complete story, are little more than caricatures of the darker side of human nature. The glory of Shakespeare’s comedies is not just that he so joyfully brings out the positive aspect of this plot, but how they may be read as a kind of anthology of almost every variation the plot can offer. He constantly reshuffles the same basic situations and motifs in every conceivable combination, shedding light first on one aspect of the plot, then on another. From the middle of his career, however, we see a remarkably consistent pattern emerging.
在通常被称为“中间喜剧”的作品中——《威尼斯商人》、《无事生非》、《皆大欢喜》、 《第十二夜》——向我们介绍了一群人物，其中包括一对在故事结束后不久相遇的中心恋人。开放。一开始一切进展顺利，似乎对未来充满希望。但随后，一个具有威胁性的阴影闯入：在故事的核心，两个角色之间出现了一种特殊的对立。剧中的主要黑暗人物站在一极，冷酷、痛苦、复仇心重。另一个是女主人公，她在故事的一些关键部分度过了，特别是当黑暗力量最盛行的时候，她是乔装打扮的：可以说是隐藏在完全看不见的地方。就这样，这位充满爱心的女主人公变得模糊不清，以两种方式之一成为故事的主要试金石。要么在她的伪装背后，她在戏剧的解决中扮演着积极和主导的角色，在这种情况下，她伪装成一个男人（波西娅饰演律师贝拉里奥博士，罗莎琳德饰演木卫三，维奥拉饰演塞萨里奥）；或者她扮演一个更被动的角色，作为故事的主要受害者，像《英雄》中的英雄一样逐渐黯然失色。废话不多说，她第一次被认为已经死了，最后又伪装成她的表弟再次出现。莎士比亚在他早期的喜剧中经常使用伪装，但只有一次，在《维罗纳二绅士》中，女主角伪装了。现在他的女主角们始终如一地这样做。只有作为总体解决方案和黑暗力量路径的一部分，女主角才会以她正确的身份重新出现：从日食中出现，让戏剧的结局沐浴在光明中。
In what are often called the ‘Middle Comedies’ – The Merchant of Venice, Much Ado About Nothing, As You Like It, Twelfth Night – we are introduced to a group of characters, including a central pair of lovers who meet shortly after the story’s opening. To begin with things go reasonably well, seeming to promise hope for the future. But then a threatening shadow intrudes: and at the heart of the story a particular opposition opens up between two of the characters. At one pole there is the play’s chief dark figure, hard, bitter and vengeful; at the other is the heroine, who spends some crucial part of the story, particularly when the dark powers are most in the ascendant, in disguise: hidden, as it were, from complete view. Thus obscured, the loving heroine becomes the chief touchstone of the story, in one of two ways. Either from behind her disguise, she plays an active and dominant role in bringing about the play’s resolution, in which case she is disguised as a man (Portia as the lawyer Dr Bellario, Rosalind as Ganymede, Viola as Cesario); or she is cast in a more passive role as the story’s chief victim, passing into eclipse like Hero in Much Ado, when she is first taken for dead and then reappears at the end disguised as her cousin. Shakespeare often employed disguises in his earlier comedies, but only once, in The Two Gentlemen of Verona, had it been the heroine who adopted a disguise. Now his heroines do it consistently. And only as part of the general resolution and the routing of the dark powers does the heroine reappear in her proper identity: emerging from eclipse to bathe the play’s ending in light.
这些中间喜剧中的黑暗人物不是中心人物之一，而是一个局外人或第三方，他的自我中心和报复性的坏脾气使这对恋人陷入阴影。最典型的例子就是心怀怨恨的高利贷者夏洛克。值得注意的是，当夏洛克最终被波西娅击溃时，他并没有改变主意。正如他的本性一样，他始终不屈不挠。因此，他不能在结尾处获得普遍的欢欣鼓舞，从而成为我们在喜剧中看到的第一个例子（除了琼森在《沃尔波内》中的怪诞），可以被称为“不甘心的黑暗人物”，他以破碎的方式结束了故事嘲笑的对象：一种替罪羊或所有消极的、自私的品质的化身，喜剧的结局代表着对这些品质的胜利。
The dark figure in these Middle Comedies is not one of the central characters but, as it were, an outsider or third party, whose egocentric and vengeful ill-humour throws the lovers into shadow. The supreme example of this is the embittered usurer Shylock; and it is notable that when he is finally put to rout by Portia, Shylock does not go through a change of heart. As is his nature, he remains unrelenting. He cannot therefore be admitted to the general rejoicing at the end, and thus becomes the first example we have seen in Comedy (apart from Jonson’s grotesques in Volpone) of what may be called the ‘unreconciled dark figure’, who ends the story a broken object of derision: a kind of scapegoat or embodiment of all the negative, self-seeking qualities over which the ending of Comedy represents the victory.
在该序列的下一部剧《无事生非》中，约翰公爵扮演了类似的角色，他是情人克劳迪奥的奸诈兄弟。当他的恶行最终被揭露时，他顽固不化，而当希罗“起死回生”带来幸福结局时，约翰仍然作为“不甘心的黑暗人物”留在舞台之外，等待受到惩罚。3
In the next play in the sequence, Much Ado About Nothing, a similar part is played by Duke John, the treacherous brother of the lover Claudio. When his villainy is finally exposed he is unrepentant, and while Hero ‘returns from the dead’ to produce the happy ending, John remains off stage as the ‘unreconciled dark figure’, due for punishment.3
在《皆大欢喜》中，黑暗人物是弗雷德里克，他篡夺了兄弟的统治权，最终将所有光明人物驱赶到了神秘而迷人的雅顿森林的另一个世界，他最终确实改变了主意，结果与“一位年长的宗教人士”交谈，但这发生在舞台之外（与森林中的混乱解决同时，罗莎琳德脱掉伪装，与她的情人奥兰多和她的父亲，真正的公爵团聚），因此他没有参加闭幕式庆祝活动。
In As You Like It the dark figure is Frederick, whose usurpation of his brother’s dominions eventually drives all the light characters into the mysterious, enchanted other-world of the Forest of Arden, He eventually does go through a change of heart, as a result of conversing with ‘an old religious man’, but this takes place off stage (simultaneously with the resolution of the confusion in the forest, as Rosalind throws off her disguise to be reunited with her lover Orlando and her father, the true Duke), and he therefore does not join the closing celebration.
最后，在《第十二夜》错综复杂的爱情纠葛中，黑暗人物的角色被保留给了马伏里奥，尽管整个故事的基调如此轻松，以至于他几乎没有给恋人带来严重的威胁。他的冒犯与其说是主动的恶意，不如说是荒谬的自爱，这种自爱欺骗了他，让他认为自己是“西萨里奥”争夺奥利维亚感情的竞争对手。即便如此，马伏里奥仍然被嘲笑为一个不甘心的黑暗人物。事实上，他实际上是莎士比亚喜剧中最后一个这样的人物，4因为从现在开始，我们看到莎士比亚看待故事的方式正在发生极其重大的转变。
Finally, in the intricate love-tangle of Twelfth Night, the role of dark figure is reserved for Malvolio, although the whole story is so light in tone that he scarcely offers a serious threat to the lovers. His offence is not so much active malevolence as merely the absurd self-love which deceives him into seeing himself as rival to ‘Cesario’ for Olivia’s affections. Even so, Malvolio is still bundled derisively off stage as an unreconciled dark figure. In fact he is virtually the last such figure in Shakespeare’s comedies,4 because from now on we see an extremely significant shift taking place in the way Shakespeare looks at the story.
英雄作为黑暗人物
The hero as dark figure
在《皆大欢喜》中，我们仍然遇到了熟悉的一对恋人的成分，一个“黑暗人物”和一个在关键时刻乔装打扮的可爱女主角之间的中心对立。但现在这个黑暗人物不再是夏洛克那样的第三方，而是英雄本人。黑暗与光明之间的对抗直指故事的核心，使两个恋人产生了分歧。整个故事中，女主人公海伦对傲慢的伯特伦进行了不懈的追求，有着深深的暗恋。以及动作的关键，如《无事生非》，是一个午夜任务，让男主角陷入女主角和另一个女人之间的身份混乱。只是这一次是女主角伪装成另一个女人，而不是相反；这一集最终带来了一个幸福的结局，而不是像《无事生非》中那样，黑暗达到了最黑暗的点。显然，如果英雄本人是主要的黑暗人物，他就不能不甘心，否则故事将不再是一部喜剧。果然，伯特伦骄傲的防御终于崩溃了，他接受并回报了海伦的爱。
In All’s Well That Ends Well we still encounter the familiar ingredients of a pair of lovers, with the central opposition between a ‘dark figure’ and a loving heroine who at a crucial moment passes into disguise. But now the dark figure is no longer some third party, like Shylock, but the hero himself. The confrontation between darkness and light has moved right to the heart of the story, dividing the two lovers themselves. The heroine Helen relentlessly pursues the arrogant Bertram through the entire story, with a deep unrequited love. And the hinge of the action, as in Much Ado About Nothing, is a midnight assignation, involving the hero in a confusion of identity between the heroine and another woman. Only this time it is the heroine who is disguised as the other woman, rather than the other way round; and the episode eventually leads to a happy resolution rather than, as in Much Ado, to darkness reaching its blackest point. Obviously where the hero himself is the chief dark figure he cannot remain unreconciled, or the story will not remain a comedy. Sure enough, Bertram’s proud defences finally crumble, and he both accepts and returns Helen’s love.
在他的下一部喜剧《一报还一报》中莎士比亚更加彻底地追求了“作为黑暗人物的英雄”这一主题。最初，他的英雄安杰洛似乎是美德的灵魂。但在他正义的外表背后，他却一步步暴露出他是一个复仇心切的虚伪怪物。这场行动的关键再次是一次午夜任务，英雄将一个乔装的女人误认为是另一个女人。然而，尽管这一集很重要，但现在剧中的主要伪装人物不再是女主角，而是睿智、全知的维也纳公爵。剧一开始他就假装出国，将维也纳的统治权交给了安吉洛。但这是一次刻意的考验，目的是看看这位贤惠的年轻人是否真的如他所表面的那样。事实上公爵一直伪装成卑微的修道士留在城里，从幕后观察并指导接下来的一切。正是他揭露了安杰洛的虚伪，并最终让他面对自己的罪行：以至于安杰洛非常悔恨，以至于他接受了必须被处死的惩罚。这种“认可”和改变主意让公爵赦免了他，为幸福的结局铺平了道路安杰洛和女主角可以团结的地方。莎士比亚最终在《暴风雨》中回归的正是这一主题，我们再次看到整个戏剧的展开是由一位洞察一切的“智慧老人”魔术师普洛斯彼罗在幕后引导的。但在此之前，莎士比亚将对“作为黑暗人物的英雄”和黯然失色的女主人公这一主题进行最后也是最复杂的探索。
In his next comedy, Measure for Measure, Shakespeare pursues this theme of ‘the hero as dark figure’ in even more thoroughgoing fashion. Initially his hero Angelo seems the soul of virtue. But step by step he is exposed, behind this righteous persona, as a monster of vengeful hypocrisy; and once again the hinge of the action is a midnight assignation where the hero mistakes one woman in disguise for another. Despite the importance of this episode, however, it is now not so much the heroine who is the chief disguised figure in the play as the wise, all-seeing Duke of Vienna. At the play’s outset he has pretended to go abroad, handing over the governance of Vienna to Angelo. But this has been a deliberate test, to see whether the virtuous young man is all that he seems. In fact the Duke has stayed in the city disguised as a humble friar, to observe and guide from behind the scenes all that follows. It is he who exposes Angelo’s hypocrisy, and eventually confronts him with his guilt: to the point where Angelo is so contrite that he accepts that he must be put to death in punishment. This ‘recognition’ and change of heart allows the Duke to pardon him, paving the way to the happy ending where Angelo and the heroine can be united. And it was this motif which Shakespeare was finally to return to in The Tempest, where again we see the unfolding of the entire drama guided from behind the scenes by an all-seeing ‘wise old man’, the magician Prospero. But before that Shakespeare was to produce his last and most complex exploration of the theme of ‘the hero as dark figure’ and the heroine who passes into eclipse.
《冬天的故事》前三幕故事如此凄凉、充满死亡气息，正如人们经常评论的那样，这个故事似乎正在演变成一场悲剧，而不是一部喜剧。英雄莱昂提斯国王毫无根据地怀疑他的妻子赫敏与他最好的朋友波利克塞尼斯国王有染。他试图杀死波利克塞尼斯，并将他的妻子投入监狱，她在那里生下了一个女儿。莱昂特斯变得越来越被黑暗所附身，他下令将孩子带出来并抛弃，并对一切表明他妻子无可指责的迹象表现得铁石心肠。直到最终他的儿子因悲伤而去世，赫敏似乎也效仿了。最后，里昂提斯以为他的全家都死了，他醒悟过来，认识到他毫无道理地安排的一切是多么可怕；此时，场景如梦似幻地转变为“波西米亚海岸”。我们终于走出了悲剧的阴影，进入了可识别的喜剧世界。莱昂特斯的小女儿佩迪塔（Perdita），“失踪者”，被牧羊人找到，就像《迷失的女孩》中的克洛伊（Chloe）一样。达夫尼斯和克洛伊，并长大后爱上了莱昂特斯的老朋友波利克塞尼斯国王的儿子弗洛里泽尔。波利克塞尼斯现在扮演的是人们熟悉的“无情的父亲”角色，他不能同意他的王子与一个牧羊女结婚，这对恋人逃回了莱昂特斯的宫廷，愤怒的父亲在追赶。珀迪塔的真实身份在这里被发现。莱昂特斯非常高兴能与失散多年的女儿重聚（尽管这也再次唤起了他对失去的赫敏的悲伤）。当波利克塞尼斯到来时，没过多久他就和莱昂特斯和解了，两位父亲也为孩子们的结合给予了欢乐的祝福。最后，莱昂提斯被带到一尊他死去的妻子的栩栩如生的雕像前。当然，事实证明赫敏并没有死在监狱里，而只是躲藏起来，而这座雕像就是她乔装打扮的。从长期的失明中走出来后，她走下来拥抱她的丈夫。因此，从各方面来说，故事的结局都是幸福的。
The first three acts of The Winter’s Tale are so bleak and death-laden that, as has often been remarked, the story seems to be shaping up into a tragedy rather than a comedy. The hero, King Leontes, conceives a baseless suspicion that his wife Hermione is having an affair with his best friend, King Polixenes. He tries to have Polixenes killed and throws his wife into prison, where she gives birth to a daughter. Becoming more and more possessed by darkness, Leontes orders that the child be taken out and abandoned, and hardens his heart to every indication that his wife is blameless; until eventually his son dies of grief and Hermione seemingly follows suit. At last, thinking his entire family is dead, Leontes comes to himself and recognises the full horror of what he has quite unjustifiably set in train; and at this point, the scene changes in dream-like fashion to ‘the sea coast of Bohemia’. We move at last out of the shadows of Tragedy into the recognisable world of Comedy. Leontes’ little daughter Perdita, ‘the lost one’, has been found by shepherds, like Chloe in Daphnis and Chloe, and has grown up to fall in love with Florizel, the son of Leontes’ old friend King Polixenes. Polixenes, now cast in the familiar role of ‘unrelenting father’, cannot agree to his princely son marrying a mere shepherd girl, and the lovers flee back to the court of Leontes, with angry father in pursuit. Here Perdita’s true identity is discovered. Leontes is overjoyed to be reunited with his long-lost daughter (although this also revives his grief for his lost Hermione). And when Polixenes arrives it does not take long for him to make up his quarrel with Leontes, and for the two fathers to give joyful blessing to the union of their children. Finally Leontes is led to an uncannily lifelike statue of his dead wife. It turns out of course that Hermione had not died in prison but had merely been in hiding, and the statue is herself in disguise. Emerging from her long eclipse, she steps down to embrace her husband. Thus in every conceivable way the story ends happily.
莎士比亚在他的任何喜剧中都没有如此严肃地谈到死亡，并将死亡视为重生和爱与生命最终胜利的前奏。这是他对喜剧的探索不断深化的漫长发展过程的结论，使所涉及的问题变得越来越严重，甚至成为生死攸关的问题。然而我们可能会注意到，就在莎士比亚达到如此近乎悲剧的深度的那一刻，在一个关于丈夫因可怕的误会而与妻子分离的故事中，他实际上又回到了几乎启动新喜剧的主题。 2000年前。米南德的戏剧，例如《埃皮特庞蒂斯》，正是围绕这样一个基本情况展开：一对丈夫和妻子，或者两个恋人，因某种可怕的误会而分开——男主人公最终认识到他对女主人公犯下了令人震惊的错误。事实上，在整个新喜剧中，没有什么主题比女主人公在故事的大部分时间里都被误解、拒绝或处于阴影之下。在许多喜剧的结尾，人们发现这位出身卑微的女主人公实际上是失散已久的富翁之女，从而将她的地位从被低估的弃儿提升到了价值连城的珍珠，这标志着她“从社会中崛起”。 “日食”就像脱掉伪装一样。“默默无闻的女主角”本质上并没有什么新鲜事。只是莎士比亚找到了一种新的、微妙的方式来表达 1900 年来喜剧核心的主题。
In no other of his comedies has Shakespeare touched so sombrely on death and seeming death as a prelude to regeneration and the eventual victory of love and life. It was the conclusion of a long process of development in which he had steadily deepened his exploration of Comedy, making the issues at stake more and more serious, to the point where they had literally become a matter of life and death. Yet we may note that, at the very moment when Shakespeare reached such near-tragic depths, in a story about a husband separated by a terrible misunderstanding from his wife, he was in fact returning to the very theme which had launched the New Comedy nearly 2000 years before. The plays of Menander, such as the Epitrepontes, centred on precisely this basic situation of a husband and wife, or two lovers, rent apart by some dreadful misunderstanding – with the hero at last coming to recognise that he had done the heroine an appalling wrong. Indeed throughout the New Comedy no general theme had been more persistent than that of the heroine who spends much of the story misunderstood, rejected or otherwise under a shadow. The discovery at the end of so many comedies that this socially humble heroine was in fact the long-lost daughter of a rich man, thus raising her status from that of undervalued outcast to that of a pearl of great price, marked her ‘emergence from eclipse’ just as much as the throwing off of a disguise. There was nothing essentially new about the ‘obscured heroine’. It was just that Shakespeare had found a new and subtle way to express a theme which had lain near the heart of Comedy for 1900 years.
线上方/线下方
Above the line/below the line
现在必须介绍的喜剧的最后一个非常重要的方面在《冬天的故事》中再次得到了例证。故事中的重生过程就是这样开始的，两个年轻的恋人佩迪塔和弗洛里泽尔在另一个国家的一个社会地位卑微的环境中相遇，远离莱昂特斯国王黑暗和分裂的世界。我们开始的法庭。
A final very important aspect of Comedy which must now be introduced is again exemplified in The Winter’s Tale. This is the way in which the process of regeneration in the story begins with the coming together of the two young lovers, Perdita and Florizel, in a socially humble setting, in another country, far removed from the darkened and divided world of King Leontes’ court where we began.
如果我们从莎士比亚的喜剧转向他后来的十七世纪继承者莫里哀的喜剧，首先让我们震惊的是他们的故事是多么简单。我们几乎回到了新喜剧的简单性。我们可能还会惊讶于他的许多戏剧都是围绕相同的基本情况构建的。首先，我们看到一位父亲，一家之主，被某种愚蠢的痴迷所控制。在《布尔乔亚绅士》中，他是一位富有的商人和潜在的社会攀登者，希望把自己伪装成绅士。在《想象中的马拉德》中，他是一个忧郁症患者，对医生有着过分的崇敬。在直接取材于普劳图斯的《拉瓦尔》中，他是一个脾气暴躁的老守财奴，陷入了对金钱的痴迷之中。在他被虚伪的宗教狂热分子迷惑了，这部剧因此而得名。
If we turn from the comedies of Shakespeare to those of his later seventeenth-century successor Molière, the first thing which may strike us is how uncomplicated their stories are. We are almost back to the simplicities of the New Comedy. We may also be struck by how many of his plays are built round the same basic situation. Firstly, we see a father, the head of a household, who is in the grip of some foolish obsession. In Le Bourgeois Gentilhomme he is a rich tradesman and would-be social climber who wishes to pass himself off as a gentleman. In Le Malade Imaginaire he is a hypochondriac, with an exaggerated reverence for doctors. In L’Avare, taken straight from Plautus, he is a surly old miser trapped in his obsessive love for his money. In Tartuffe he is under the spell of the hypocritical religious fanatic who gives the play its name.
然后我们看到这个被迷惑的家长扮演着自私且无情的父亲的角色。他有一个女儿，爱上了一个和蔼可亲的年轻人，她想嫁给他。但出于直接源于他的痴迷的原因，她的父亲反对这门亲事，并坚持让她嫁给他自己选择的一个更不理想的人：一个贵族，一个医生的侄子，一个富有的年长朋友，令人震惊的答尔丢夫本人。
We then see this deluded paterfamilias cast in the role of selfish and unrelenting father. He has a daughter who is in love with some agreeable young man whom she wishes to marry. But for reasons directly stemming from his obsession, her father is opposed to the match and insisting that she marry some much less desirable person of his own choice: a nobleman, a doctor’s nephew, a rich elderly friend, the appalling Tartuffe himself.
因此，该剧的基本情况是，我们面临着一个僵局：一方面是不屈不挠的一家之主，被黑暗的痴迷所控制；另一方面，另一方面，由于他坚决拒绝让他们结婚而蒙上阴影的是这对年轻夫妇，他们代表着生命、希望和前进的道路。第三个要素是，在每一个例子中，家长的仆人、年轻夫妇本人、甚至他的妻子都扮演着打破木头堵塞、让恋人重聚、生活重新流动的关键角色。换句话说，他周围所有那些被他视为低等、低级或下属的人，都在策划一场反对他剥夺生命的统治的阴谋。在《布尔乔亚绅士》中是盲目势利的茹尔丹先生的女仆和他理智的妻子策划了女儿的情人的诡计乔装打扮成社交上令人眼花缭乱的“大土耳其人”来向她求婚（从而在卸下伪装之前赢得了茹尔丹的接受）。在《Le Malade Imaginaire》中，女仆装扮成另一位医生揭露了普尔贡的骗术，从而帮助阿甘摆脱了痴迷，并为这对恋人的结合铺平了道路。在《拉瓦尔》中，年轻的男仆偷了老守财奴的钱箱，最终让哈帕贡的黑暗、卑鄙的计划付诸东流，将他的两个孩子嫁给了富有的年长朋友。在答尔杜夫埃尔米尔，这位受委屈的妻子（在女仆和年轻恋人的帮助和怂恿下）上演了一次关键的任务，向她痴情的丈夫奥尔贡揭露了塔尔杜夫到底是一个多么恶毒的伪君子（当他在最后被拉去接受惩罚时，塔尔杜夫代表作为“不甘心的黑暗人物”夏洛克的完整实例）。
The fundamental situation of the play therefore is that we are presented with an impasse: on the one side stands the unyielding head of the household, in the grip of his dark obsession; on the other, cast under a shadow by his stern refusal to let them marry, are the young couple, representing life, hope and the way forward. The third ingredient is that, in each instance, a key part in breaking up the log jam, allowing the lovers to come together and life to flow again, is played by the paterfamilias’s servants, the young couple themselves and even his wife. In other words a conspiracy is formed against his life-denying rule by all those around him whom he would regard as inferior, junior or subordinate. In Le Bourgeois Gentilhomme it is the blindly snobbish M. Jourdain’s maidservant and his common-sensical wife who mastermind the ruse whereby the daughter’s lover comes to ask for her hand in the socially dazzling disguise of ‘the Grand Turk’ (thus winning Jourdain’s acceptance before the disguise is thrown off). In Le Malade Imaginaire it is the maidservant who dresses up as another doctor to expose the charlatanry of Purgon, thus helping to free Argan from his obsession and paving the way to the union of the lovers. In L’Avare it is the young valet who, by stealing the old miser’s cash box, finally puts paid to Harpagon’s dark, mean-minded scheme to marry off his two children to rich elderly friends. In Tartuffe it is Elmire, the wronged wife (aided and abetted by maidservant and young lovers) who stages the crucial assignation which exposes to her besotted husband Orgon what a vicious hypocrite Tartuffe really is (and when he is hauled off for punishment at the end Tartuffe represents as complete an instance of the ‘unreconciled dark figure’ as Shylock).
事实上，莫里哀戏剧中通过故事中的“低等”人物来解决问题的这一方面在喜剧中绝不是新鲜事。一次又一次，回到阿里斯托芬，我们看到喜剧中的角色被一条不言而喻的分界线分开。线上方的人物，如莫里哀的父亲和他们的朋友，代表着既定的秩序、上层社会阶层、男人对女人的权威、父亲对孩子的权威。那些阴影落在线下的人，包括仆人、下层阶级、妻子和新兴一代。故事中与生命相对的黑暗的主要来源是在上层。解脱之路在于“低等”层次。在黄蜂中正是年轻的安提克莱昂把他那冷酷的老父亲从他对一时判断的痴迷中解放出来。在《吕西斯忒拉忒》中，女主人公和她的妻子们将她们的男人从对战争的痴迷中解放出来。在《埃皮特庞蒂斯》中，各方的奴隶们，在一种地下阴谋中，聚集在一起找出新发现的婴儿的身份，从而将爱与和解带回了“上层”的主人和情妇身边。世界'。事实上，让奴隶负责解决困扰他们社会上层的混乱是新喜剧的一个常规特征。
In fact this aspect of Molière’s plays whereby the road to resolution lies through the ‘inferior’ figures in the story was by no means new in Comedy. Again and again, right back to Aristophanes, we see the characters in a comedy separated by, as it were, an unspoken dividing line. The characters above the line, like Moliere’s fathers and their friends, represent the established order, an upper social level, the authority of men over women, fathers over their children. Those below the line, where the shadows fall, include servants, people of inferior class, wives and the rising generation. The chief source of darkness in the story, opposed to life, is on the upper level. The road to liberation lies through the ‘inferior’ level. In The Wasps it was young Anticleon who liberated his grim old father from his obsession with passing judgement. In Lysistrata it was the heroine and her fellow-wives who liberated their men from their ruling obsession with war. In the Epitrepontes it was the slaves to the various parties who, in a kind of below stairs conspiracy, got together to work out the identity of the newly-found baby, thus bringing love and reconciliation back to their master and mistress in the ‘upper world’. Indeed for the slaves to be responsible for sorting out the confusion which had engulfed their social superiors was a regular feature of the New Comedy.
当我们读到莎士比亚的作品时，我们几乎总是看到社会上的“上层”世界和“下层”世界的划分，甚至偶尔是仆人或其他处于下层的人，就像在《无事生非》中一样，揭露了一个至关重要的事实：最终带来上层爱情的胜利。但更常见的是，正如我们所看到的，来自社会上层的人物通过在伪装下隐藏自己的真实身份，以不同的方式进入阴暗的“低等”层次，从而达到了同样的结果。喜剧的本质始终是必须将一些救赎真理从阴影中带入光明。这通常需要暂时下降到某种模糊或“低等”的状态，以便真相得以确立，而隐藏在伪装后面是实现这一目标的最明显的方式之一（例如，朱莉娅和维奥拉将自己伪装成页面中，罗莎琳德扮演一个贫穷的乡村男孩，富有的女继承人波西娅扮演一个相对卑微的律师）。另一种形式的“下降”是进入某个阴暗的“另一个世界”，就像《仲夏夜之梦》中的恋人如果不下降到森林的暮色世界和仙女的“低等”王国就无法解决自己的问题一样；或者《皆大欢喜》中的各种轻快角色，没有他们的血统进入亚丁森林的阴暗世界。关键在于，如果不在较低层面或在“上层世界”角色意识之外的其他地方发生一些关键活动，那么上层世界的混乱就无法得到纠正——否认状态。生命正是从下层世界再生并再次带回上层世界，正如《冬天的故事》前三幕中黑暗袭击后莱昂特斯处于精神疲惫的最低潮时所发生的那样。新生命的加速从远处开始，在年轻恋人伪装成牧羊人的社会劣等环境中，直到它最终席卷回到“生病的”莱昂特斯国王的宫廷，将冬天变成春天。
When we come to Shakespeare we almost invariably see a division into an ‘upper’ and a ‘lower’ world in social terms, and it is even occasionally servants or others on the lower level, as in Much Ado, who expose the vital truth which eventually brings about the triumph of love on the upper level. But much more often as we have seen, the same result is achieved by characters from the social upper level who move onto a shadowy, ‘inferior’ level in a different way, by concealing their true identity beneath a disguise. The essence of Comedy is always that some redeeming truth has to be brought out of the shadows into the light. This often requires a temporary descent into some obscured or ‘inferior’ state in order that the truth may be established, and the retreat behind a disguise is one of the most obvious ways in which this is achieved (e.g., Julia and Viola disguising themselves as pages, Rosalind as a poor country boy, the rich heiress Portia as a comparatively humble lawyer). Another form of ‘descent’ is into some shadowy ‘other world’, just as the lovers in A Midsummer Night’s Dream cannot get themselves sorted out without their descent into the twilit world of the forest and the ‘inferior’ kingdom of the fairies; or the various light characters in As You Like It without their descent into the shadowy world of the Forest of Arden. The point is that the disorder in the upper world cannot be amended without some crucial activity taking place at a lower level, or in some other place beyond the consciousness of the ‘upper world’ character or characters who are in the grip of their life-denying state. It is from the lower level that life is regenerated and brought back to the upper world again, just as happens when Leontes is at his lowest ebb of spiritual exhaustion after the attack of darkness which dominates the first three acts of The Winter’s Tale. The quickening of new life begins far away, amid the socially inferior surroundings where the young lovers are disguised as shepherds, until it eventually sweeps back up to the ‘sick’ King Leontes’ court to turn winter into spring.
十八世纪末喜剧
Late eighteenth-century comedy
在 1770 年代欧洲各国出现的一系列令人难忘的喜剧中，我们可以看到喜剧这一复杂但极其重要的方面的多种变体。例如，在戈德史密斯的《她屈尊去征服》中(1773) 我们看到一位上流社会的年轻英雄马洛，他有一个问题。他无法与女性建立联系，除非她们的地位比他低。他通常是“世界上最害羞、最保守的年轻人之一”；但面对一位漂亮的酒吧女招待，他突然充满了爱情的自信。他出发前往乡下，去见被选为他结婚的女孩哈德卡斯尔小姐，但却被误导，误将她家的房子当成了一家旅馆。因此，从某种意义上说，整个访问就像“下降到低等境界”，受人尊敬的房子本身实际上是低等的伪装。而当女主人公自己陷入误会的精神时，男主人公就可以通过女仆的装扮和举止向她发出热烈的爱意。只有当她重新获得她令人尊敬的“上层世界”身份时，他才再次变得张口结舌。但最终“认可”发生了；所有误会都已消除；当女主角伪装时，男主角对女主角的存在赢得了如此大的信心，以至于他最终可以以她真正的“上层世界”身份快乐地接近她。
We can see a number of variations on this complex but extremely important aspect of Comedy in the memorable constellation of comedies which appeared in various European countries in the 1770s. For instance, in Goldsmith’s She Stoops to Conquer (1773) we see an upper class young hero Marlow, who has a problem. He cannot relate to women unless they are of a lower station than his own. He is normally ‘one of the most bashful and reserved young fellows in the world’; but confronted with a pretty barmaid he is suddenly seized with amorous confidence. He sets out into the country to meet the girl who has been chosen for him to marry, Miss Hardcastle, but is misled into mistaking her family’s house for an inn. The whole visit thus becomes, in a sense, like a ‘descent into an inferior realm’, with the respectable house itself in effect in inferior disguise. And when the heroine herself enters into the spirit of the misunderstanding, by adopting the guise and manner of a serving girl, the hero is able to make ardent protestations of love to her. It is only at the moments when she reassumes her respectable ‘upper world’ identity that he again becomes tongue-tied. But finally ‘recognition’ takes place; all misunderstandings are cleared up; and the hero has won such confidence in the heroine’s presence during the episodes when she is disguised, that he can at last happily approach her in her true ‘upper world’ identity.
在谢里登的《对手》（1775）中，我们几乎看到了这一点的镜像。在这里，年轻的女主人公浪漫地无法想象自己爱一个男人，除非他的地位低下。当主人公绝对船长爱上她时，他意识到自己的收入和地位太高，以至于她无法回报，于是他假扮成一名贫穷的少尉向她求爱，并取得了相当大的成功。但随后男主人公的父亲代表“上层世界”出现，并向女主人公的监护人阿姨提议让他的儿子和她的侄女进行一场比赛：这样，以他的正确身份的绝对就必须成为她对他的感情的竞争对手。低劣的伪装。最终，正如《她屈尊去征服》，“认识”发生了，女主角发现她现在能够以男主角真正的“上层世界”身份去爱他。
In Sheridan’s The Rivals (1775) we see almost the mirror image of this. Here it is the young heroine who romantically cannot imagine herself loving a man unless he is of lowly rank. When the hero, Captain Absolute, falls in love with her, he realises that his income and status are too high for her to reciprocate, so he woos her in the disguise of a poor ensign, with considerable success. But then the hero’s father appears, representing the ‘upper world’, and proposes to the heroine’s guardian-aunt a match between his son and her niece: so that Absolute in his proper identity has to becorne a rival for her affections to himself in his inferior disguise. Eventually, as in She Stoops to Conquer, ‘recognition’ takes place, and the heroine finds that she is now able to love the hero in his true ‘upper world’ identity.
在谢里登的《丑闻学校》（1777）中，以不同的方式呈现了通过低等水平通往幸福结局的道路。我们遇到了两个年轻的兄弟他们都在追求同一个女孩：其中一个名叫约瑟夫·表面，显然更符合条件，因为他虔诚而受人尊敬，而另一个名叫查尔斯，是一个鲁莽的挥霍者。然而，女主人公所爱的是两个人中表面上“低等”的查尔斯：然后兄弟俩就受到了考验。他们富有的叔叔从国外隐姓埋名来到这里，以不同的卑微伪装接近他们每个人，既是放债者，又是贫穷而有需要的亲戚。事实证明，一个角色的伪装之下的隐藏是一种令人钦佩的方式，可以发现并暴露他人的真实本性。约瑟夫被揭露为一个奸诈的伪君子，而查尔斯则显得诚实而善良。叔叔终于回到了‘上层世界’，揭露了自己的真实身份，奖励查尔斯并为他与女主角的结合铺平道路；而卑鄙的约瑟夫则作为一个“不甘心”的黑暗人物被捆绑在舞台之外。
In Sheridan’s The School for Scandal (1777), the road to the happy ending via an inferior level is presented in a different way. We meet two young brothers who are both courting the same girl: one of them, Joseph Surface, apparently the more eligible, in that he is pious and respectable, while the other, Charles, is a reckless spendthrift. Nevertheless it is the outwardly ‘inferior’ of the two, Charles, that the heroine loves: and the brothers are then put to the test. Their rich uncle arrives incognito from abroad and approaches each of them in a different, lowly disguise, as a moneylender and as a poor and needy relative. As so often, the concealment beneath disguise of one character proves an admirable way to catch out and expose the true nature of others. Joseph is revealed as a treacherous hypocrite, while Charles emerges as honest and good-natured. The uncle finally returns to the ‘upper world’ by revealing his true identity, to reward Charles and pave the way to his union with the heroine; while the dastardly Joseph is bundled off-stage as an ‘unreconciled’ dark figure.
但正是在法国同一时间写的一部戏剧中，借助社会地位低下的人物来救赎“上层世界”的主题也许找到了其最著名的表达方式：这就是我们如何回到这个故事的方式。第一章开始是博马舍的《费加罗的婚礼》，大部分写于 1778 年（尽管直到 1784 年才上演），并于 1786 年翻译成更广为人知的形式，配以莫扎特的音乐。
But it was in a play written at the same time in France that the theme of the redemption of an ‘upper world’ with the aid of socially inferior characters found perhaps its most celebrated expression: which is how we return to the story with which this chapter began, Beaumarchais’s The Marriage of Figaro, mostly written by 1778 (though not staged until 1784), and translated into its better known form, with music by Mozart, in 1786.
费加罗的婚礼
The Marriage of Figaro
如果必须选择一个故事来说明本章中出现的喜剧的几乎所有观点，那么它可能是《费加罗的婚礼》。事实上，这是一个几乎不可能简单概括的故事，正是因为它将情节中如此多熟悉的元素编织在一起。然而，舞台上经常出现的东西，是一个几乎无法穿透的隐藏、误解、诡计、模仿和伪装的丛林，以令人眼花缭乱的方式接二连三，只有通过莫扎特一些最优秀的音乐的不断流动才可以被接受，结果却是一个这是所有喜剧中结构最完美的一部，每个角色和情节都与其他角色和情节相互作用，直到最后一切都准备就绪，将灾难性的混乱转变为奇迹般的幸福结局。
If one had to choose one story to illustrate almost every point about Comedy which has emerged in this chapter, it might be The Marriage of Figaro. Indeed it is a story almost impossible to summarise briefly, precisely because it weaves so many familiar elements in the plot together. Yet what often passes on the stage as an almost impenetrable thicket of concealments, misunderstandings, stratagems, impersonations and disguises, succeeding each other in bewildering array, and only made acceptable by the continuous flow of some of Mozart’s finest music, turns out to be one of the most perfectly constructed of all comedies, each character and episode interacting on all the others until, finally, everything is in place to turn disastrous confusion into a miraculously happy ending.
《费加罗的婚礼》所呈现的基本情境是许多早期喜剧中所熟悉的，尤其是莫里哀的喜剧。我们看到一个家庭由“黑暗家长”阿尔马维瓦伯爵统治，他被一种以自我为中心的痴迷所蒙蔽：在这个例子中，他是无情的、强迫性的花心。在他的自私和脾气暴躁的阴影下，有他的妻子，不幸的伯爵夫人，以及一对即将结婚的年轻恋人费加罗和苏珊娜。如果这是一个传统的主题，我们应该期待看到故事以伯爵作为主要黑暗人物结束，他会改变主意，从而使他与受委屈的妻子重归于好，同时铺平道路为了年轻恋人的结合。
The fundamental situation presented by The Marriage of Figaro is one familiar from many earlier comedies, not least those of Molière. We see a household dominated by a ‘dark paterfamilias’, the Count Almaviva, who is blinded by an egocentric obsession: in this case his heartless compulsive philandering. In the shadows cast by his selfishness and ill-temper are his wife, the unhappy Countess, and a pair of young lovers, who are planning to get married, Figaro and Susanna. And if this were a conventional working out of the theme we should expect to see the story ending with the Count, as its chief dark figure, going through a change of heart, thus bringing him back together with his wronged wife and simultaneously paving the way for the union of the young lovers.
但《费加罗》向我们展示了对通常公式的一些扭曲，这给故事中的关系带来了一种特殊的模糊性，赋予了它不同寻常的心理力量。
But Figaro presents us with a number of twists to the usual formula which lend a peculiar ambiguity to the relationships in the story, giving it unusual psychological force.
首先，这对年轻恋人与一家之主夫妇的关系是模糊的。在传统的喜剧中，其中一个是伯爵和伯爵夫人的孩子。这里他们与伯爵和伯爵夫人完全没有关系，并且暗示他们可能都是相似的年龄（尽管这是模棱两可的）。这意味着，尽管费加罗和苏珊娜是仆人，社会地位较低，但从人性的角度来看，他们与伯爵和伯爵夫人的水平要高得多。其次，故事中两对较小的夫妇扮演着神秘而阴暗的角色：一方面是年迈的巴托洛博士和马塞利娜；另一方面是年长的巴托洛博士和马塞利娜。另一方面，年轻的凯鲁比诺和芭芭丽娜是第二对较小的年轻恋人。第三，故事的展开以一种奇怪的方式强调，故事的最终目的不是让费加罗和苏珊娜走到一起，这发生在结局之前的某个时间：而是让伯爵重新与他的伯爵夫人悔改并充满爱的结合。伯爵的黑暗状态构成了故事中压倒性的问题，给其他人带来了灾难，让他的家庭陷入混乱。在这个问题解决之前，即使是恋人的结合也无法带来真正的幸福结局。
For a start there is the ambiguity of the young lovers’ relationship to the couple at the head of the household. In a conventional comedy one of them would have been the child of the Count and Countess. Here they are not related to the Count and Countess at all, and it is implied that they may all be of similar age (although this is ambiguous). This means that, although Figaro and Susanna are servants and socially inferior, they are, in human terms, on much more of a level with the Count and Countess. Secondly, there is the mysterious and shadowy role played in the story by the two lesser couples: on the one hand the elderly Dr Bartolo and Marcellina; on the other the young Cherubino and Barbarina as a second, lesser pair of young lovers. Thirdly, there is the curious way in which the unfolding action emphasises that the ultimate point of the story is not to bring Figaro and Susanna together, which happens some time before the end: but to bring the Count back into repentant and loving union with his Countess. It is the Count whose dark state poses the overwhelming problem of the story, casting a blight over everyone else, throwing his household into chaos. Until that is resolved, not even the union of the lovers can bring a truly happy ending.
当故事开始时，一切似乎都是阳光明媚和正常的，因为费加罗和苏珊娜正忙着处理他们即将举行的婚礼的平凡细节。但即使事实上他们都专注于不同的事情（他测量床的空间，她梦见她的帽子），这也是一个潜意识的小迹象，表明我们进入的这个世界上的人们彼此隔绝；他们彼此之间存在着隔阂。渐渐地，我们了解到，在阳光照射的前景之外，双重阴影笼罩着这对幸福的情侣。首先，苏珊娜透露伯爵对她有情欲，这让费加罗对伯爵产生了嫉妒的愤怒。然后费加罗本人承认，他鲁莽地让自己陷入了这样的境地：为了换取未偿还的债务，他与年迈的玛塞利娜结婚。换句话说，
When the story opens all seems sunny and normal, as Figaro and Susanna are busily engaged on mundane details of their forthcoming nuptials. But even the fact that they are both preoccupied with different things (he measuring the room for a bed, she dreaming of her hat) is a small subconscious sign that people in this world we have entered are shut off from one another; and gradually we learn that beyond the sunlit foreground a double shadow is looming over the happy pair. First Susanna reveals that the Count has amorous designs on her, which throws Figaro into a jealous rage against the Count. Then Figaro himself confesses that he has recklessly allowed himself to get into the position where, in return for an unpaid debt, he is contracted to marry the elderly Marcellina. In other words, he has passed into a curiously oblique echo of the classic Oedipal situation where a young man finds his way forward to a mature and independent relationship with his feminine ‘other half’ barred by the double obstacle of antagonism to a male rival, representing threatening masculine authority, and an equally retarding tie to a powerful older woman.
但第一幕的动作实际上完全由另一个角色主导，即年轻的侍从凯鲁比诺：很快就变得显而易见，他在故事中的角色本质上是象征性的。凯鲁比诺的名字让人想起小男孩的爱神，他唯一明显的特征就是他青春期对爱情的永不满足的渴望。他就像是永不停歇的爱情冲动的化身，不成熟，不通畅，以自我为中心（因此没有任何真正的爱情内容），这正是以更黑暗的形式困扰着伯爵的问题，也是伯爵的核心问题。整个故事。凯鲁比诺在第一幕中的突出地位（后来大大减弱）的要点在于，他在家里闲聊，就像伯爵自身弱点的一个小影子一样，引起了人们的注意：这正是伯爵无法忍受他的原因。歌剧三集的第一集的多重误解（角色躲在家具后面，无意中听到他们不该听到的内容）的主要效果是使伯爵对凯鲁比诺的仇恨达到了顶峰。首先伯爵得知凯鲁比诺爱伯爵夫人（这是伯爵本人应该做的）。然后他错误地认为凯鲁比诺也爱苏珊娜（这正是伯爵想要做的）。我们甚至了解到伯爵对凯鲁比诺自己的女朋友芭芭丽娜有所图谋。伯爵把自己彻底激怒了，他试图通过让凯鲁比诺成为一名士兵来彻底结束他的“花心日子”，却没有意识到，通过摆脱他的“小影子”，他会做的事情解决不了家庭真正的问题，这个问题就在他自己身上。
But the action of the first act is in fact dominated by another character altogether, the young page Cherubino: and as soon becomes apparent his role in the story is essentially symbolic. With his name resonant of a little boy god of love, Cherubino’s only obvious characteristic is his insatiable, adolescent desire for love. He is like a personification of the restless love-urge, immature, unchannelled, egocentric (and therefore without any content of real love), which is precisely the problem which, in a much darker form, afflicts the Count and is the central problem of the whole story. The point of Cherubino’s prominence in the first act (which afterwards diminishes considerably) is that he rattles about the household like a little inferior shadow of the Count’s own weakness, drawing attention to it: which is precisely why the Count cannot stand him. And the chief effect of the first of the opera’s three episodes of multiple misunderstanding (as characters hide behind the furniture, overhearing what they are not meant to hear) is to bring the Count’s hatred for Cherubino to a head. First the Count learns that Cherubino loves the Countess (which is what the Count himself ought to be doing). Then he thinks, erroneously, that Cherubino also loves Susanna (which is what the Count would like to be doing). We even learn that the Count has designs on Cherubino’s own girl friend, Barbarina. Having worked himself up all round into a jealous fury, the Count tries to put an end to Cherubino’s ‘days of philandering’ altogether by packing him off to be a soldier, little realising that by getting rid of his ‘little shadow’ he will do nothing to solve the real problem of the household which lies in himself.
如果说第一幕的目的是以一种特别微妙的方式揭露每个人烦恼的隐藏根源，那么第二幕就开始精心尝试对此采取行动。我们第一次见到伯爵夫人，看到她因伯爵的无情而陷入绝望的痛苦状态。她是最终无助的受害者，被笼罩在他身上的黑暗状态所笼罩在阴影之中。现在，在更加“活跃”的苏珊娜和费加罗的帮助下，她终于开始策划一个阴谋来诱捕伯爵并揭露他。这正是我们从莫里哀那里看到的那种阵容：黑暗而痴迷的一家之主，代表着一种病态的“统治秩序”，与妻子、仆人和情人之间的“低等”联盟相对立（除了这里的仆人）和恋人是一样的）。
If the point of the first act is to lay bare in a peculiarly subtle way the hidden source of everyone’s troubles, the second opens with the beginning of an elaborate attempt to do something about it. For the first time we meet the Countess, and see the desperate state of misery to which she has been reduced by the Count’s heartlessness. She is the ultimate helpless victim, consigned to the shadows by the state of darkness which has possessed him. Now with the aid of the much more ‘active’ Susanna and Figaro she is at last beginning to hatch a plot to trap the Count and expose him. This is just the sort of line-up we recognise from Molière: the dark and obsessed head of the household, representing a sick ‘ruling order’, being opposed by an ‘inferior’ alliance between wife, servants and lovers (except that here servants and lovers are the same).
歌剧第二集的多重误解（人物现在躲在橱柜里并跳出窗户）的主要影响是，与第一集一样，只是让伯爵陷入比以往更加愤怒和困惑的状态。他仍在寻找除了他自己以外的任何人来为一切似乎都出了问题的事实负责。只是现在他的愤怒集中在费加罗身上。出于各种黑暗和扭曲的原因，他决定利用自己的权威来阻止费加罗与苏珊娜结婚的计划：因此，他间接地进入了“无情的父母”的熟悉位置，一心要阻碍年轻的爱情。
The chief effect of the opera’s second episode of multiple misunderstanding (with characters now hiding in cupboards and jumping out of windows) is, like that of the first, simply to get the Count into a greater state of angry confusion than ever. He is still looking for anyone other than himself to blame for the fact that everything seems to be going wrong. Only now his rage focuses on Figaro. For all sorts of dark and twisted reasons he determines to use his authority to thwart Figaro’s plans to marry Susanna: and he thus passes obliquely into the familiar position of the ‘unrelenting parent’, bent on standing in the way of young love.
第三幕看到费加罗的问题达到了紧要关头。看来他无法阻止年迈的玛塞利娜声称自己有权嫁给他——现在得到了伯爵的全力支持。混乱和黑暗似乎即将赢得最终的胜利：突然，令所有人惊讶的是，通过胎记（相当于“令牌”），费加罗实际上是马塞利娜和巴托洛博士失散多年的儿子。他正处于与自己母亲结婚的边缘。费加罗真实身份的戏剧性揭露（除了心理象征意义上的意义之外，在任何意义上都是完全不可能的）对每个人都有如此惊人的影响，以至于它完全从伯爵的脚下拉了地毯。我们面临着许多喜剧结尾中熟悉的强有力的形象，突然间一切都变好了：一个长期分离的家庭奇迹般地团聚了；长期隐藏的身份突然曝光；年轻的恋人终于可以自由结婚了；费加罗与苏珊娜的婚礼立即准备就绪。
Act Three sees Figaro’s problems coming to a head. It seems that there is nothing he can do to prevent the elderly Marcellina claiming her right to marry him – now with the full support of the Count. Confusion and darkness seem about to win their ultimate victory: when suddenly, to everyone’s astonishment, it is revealed by way of a birthmark (the equivalent of ‘tokens’) that Figaro is in fact the long-lost son of Marcellina and Dr Bartolo. He has just been on the verge of being drawn into marriage with his own mother. This dramatic revelation of Figaro’s true identity (totally improbable in any sense but that of psychological symbolism) has such a stunning effect on everyone that it completely pulls the rug from under the Count’s feet. We are confronted with that potent image familiar from the end of so many comedies where suddenly everything comes right: a long-separated family is miraculously brought together; long-hidden identities are suddenly brought to light; the young lovers are finally free to get married; and preparations are made for Figaro’s wedding to Susanna at once.
然而，此时此刻，即使婚礼庆典正在如火如荼地进行，我们仍然强烈地提醒我们，故事的标题对于它的最终内容有多大的误导性。第三幕结尾处的费加罗的婚姻绝不是戏剧的结尾。笼罩整个故事的真正问题尚未浮出水面，这就是第四幕也是最后一幕的主题。
At this point, however, even while the wedding celebrations are in full swing, we are forcibly reminded of how far the story’s title is misleading as to what it is ultimately about. The marriage of Figaro, at the end of Act Three, is by no means the end of the drama. The real problem overshadowing the whole story has yet to be brought to its head, and such is the theme of the fourth and concluding act.
主角们第三次陷入一系列多重误会，这次是在花园阴暗的夜晚，两位女主角伯爵夫人和苏珊娜互相伪装，现在采取了最后的主动行动。带领伯爵跳一支快乐的舞蹈（现在的焦点显然是苏珊娜和伯爵夫人之间不可动摇的女性联盟，他们甚至还短暂地愚弄了费加罗）。伯爵最终陷入了虚伪的境地，嫉妒地攻击费加罗，因为费加罗据称与伯爵夫人做爱，而事实上费加罗正在与他自己的妻子做爱，而伯爵认为他正在与费加罗的妻子做爱。在这个高潮中，伯爵的虚伪被还原到了荒谬的地步，双重委屈的伯爵夫人可以从阴影中走出来，让他充分认识到他所陷入的处境的恐怖。我们终于看到震惊的伯爵经历了我们在整个故事中一直等待的深刻转变。他最终被迫面对关于他自己和他自己行为的真相。他认识到自己已经成为一个无情的虚伪怪物，并恳求他忠实慈爱的妻子的原谅。最后，故事中的每个人都可以正确地配对，四对快乐的情侣唱出了这个故事的寓意：
For a third time the chief characters are plunged into a series of multiple misunderstandings, this time at night amid the shadowy surroundings of the garden, as the two leading ladies, the Countess and Susanna, disguised as each other, now take the final initiative in leading the Count a merry dance (so clearly is the focus now on the unshakeable feminine alliance between Susanna and the Countess that they even briefly fool Figaro as well). The Count is led into the final hypocrisy of a jealous attack on Figaro for supposedly making love to the Countess, when in fact Figaro is making love to his own wife and it is the Count who thinks he is making love to Figaro’s. On this climax, bringing the Count’s hypocrisy to its reductio ad absurdum, the doubly-wronged Countess can step from the shadows to bring home to him the full horror of the situation he has got into. We at last see the appalled Count going through the profound transformation we have been waiting for throughout the story. He has at last been forced to confront the truth about himself and his own behaviour. He recognises what a heartless monster of hypocrisy he has become, and pleads with his faithful loving wife for forgiveness. At last everyone in the story can properly pair off, and the four joyful couples sing out the moral of the tale:
“让我们大家吸取教训，忘记并宽恕，
‘Let us all learn the lesson, forget and forgive,
谁知足、幸福，谁就生活”
Whoever contented and happy would live’
以及，在这个暴风雨的一天之后（故事的副标题是“疯狂的一天”），他们将如何“在音乐声中狂欢整夜”。
and how, after this tempestuous day (the story’s subtitle is ‘The Day of Madness’), they are going ‘to the sound of music to revel all night’.
我们在《费加罗的婚礼》中看到的本质是无数其他喜剧中常见的情况。我们看到一群人，一个小社区，陷入完全的混乱和痛苦，主要是因为该社区中的一个主导人物完全以自我为中心，并被一种“黑暗”状态所占据。因为他不“以自己为中心”，也不以自己为中心，所以他的内心混乱的影响会在整个社区中产生多米诺骨牌效应。社区中权力的主要来源是滥用权力。不再有和谐秩序的感觉。没有人知道他们是谁了。每个人都与其他人为敌。没有什么是清楚的。
The essence of what we see in The Marriage of Figaro is a situation familiar from countless other comedies. We see a group of people, a little community, reduced to complete confusion and misery primarily because one dominant figure in that community is totally egocentric and possessed by a state of ‘darkness’. Because he is not ‘centred’ and right in himself, the repercussions of his inner disorder are felt in a domino-effect throughout the community. The chief source of power in the community is abusing his power. There is no longer a sense of harmonious order. No one quite knows who they are any longer. Everyone is set against everyone else. Nothing is clear.
《费加罗》结尾所发生的事情是我们所见过的几乎所有成熟喜剧的所有成分交织在一起的。故事中“黑暗”的主要来源的人物终于认识到了他盲目而无情的自我中心：他已经转移到了他的人格的另一个“中心”或“苏醒了自己”。社会上的权力和权威终于得到了正确的运用，不再被滥用。困扰社会的自私自利的可怕诅咒已经解除。作为治愈、和解以及一切都被带入光明的同一过程的一部分，许多其他事情也几乎同时发生。所有的伪装都被撕掉了。隐藏的需要已经结束。每个人都已经显现或发现了自己的真实身份。所有角色终于认识到他们必须与谁正确配对。一切终于进入和谐有序的状态。爱情和友谊在各个方面都取得了胜利。故事以人类完整的奇迹般的形象结束。每个人都聚集在一起，无论是外表还是内心，都让我们有一种生命焕然一新的令人兴奋的感觉。
What has happened by the end of Figaro is a weaving together of all the ingredients which we have seen making up almost any fully developed comedy. The figure who is the dominant source of ‘darkness’ in the story has finally been brought to recognise his blind and heartless egocentricity: he has moved to a different ‘centre’ of his personality or ‘come to himself’. Power and authority in the community is at last being exercised properly and no longer abused. The terrible curse of egotism which has afflicted the community has been lifted. And as part of this same process of healing, of reconciliation and of everything being brought into the light, a number of other things have also happened at much the same time. All disguises have been thrown off. The need for concealment is at an end. Everyone has emerged in or discovered their true identity. All the characters have finally recognised who they must properly pair off with. Everything has at last been brought into a harmonious state of order. Love and friendship are triumphant in all directions. And the story ends on a miraculous image of human wholeness; of everyone brought together, both outwardly and inwardly, in a way which gives us an exhilarating sense of life renewed.
在所有这些方面，我们可能会对《费加罗的婚礼》和《冬天的故事》之间的相似之处感到震惊。作为所有喜剧中最深刻的两部，每一部最终都描述了一个惊人相似的情况，这绝非偶然。一个王国或一个家庭的统治者患有严重的灵魂疾病，使他身下的一切都陷入阴影，特别是他的妻子，她成为了“默默无闻的女英雄”。恢复从阴影中开始，“线下”，一对年轻恋人聚集在一起，代表着青春、希望和新生活。最终，更新的精神到达了界限之上，融化了患病统治者冰冻的心。在每一个故事中，故事的结尾都是“默默无闻的女主人公”走出阴影，从长期的黯淡中走出来，成为她丈夫终于“醒悟”这一事实的真正试金石。
In all these respects we may be struck by the parallels between The Marriage of Figaro and The Winter’s Tale. As two of the most profound of all comedies, it is no accident that each is in the end describing a strikingly similar situation. The ruler of a kingdom or household has fallen under a great sickness of soul which casts all beneath him into shadow, particularly his wife, who becomes the ‘obscured heroine’. Restoration begins in the shadows, ‘below the line’, with the bringing together of a pair of young lovers, representing youth, hope and new life. Eventually the spirit of renewal reaches up above the line, to thaw out the frozen heart of the sick ruler. And in each case the story ends with the ‘obscured heroine’ stepping out of the shadows, emerging from her long eclipse, as the real touchstone of the fact that her husband has at last ‘come to himself’.
这两个故事非常接近喜剧核心的一个方面是主要男性和女性角色所扮演的角色之间的戏剧性对比。在每个故事中，都有一个男人是主要的黑暗人物，他滥用权力，向四面八方散布混乱和痛苦，因为他无法直接和完整地看到。在每种情况下，其他男性主角——费加罗和波利克塞尼斯——也受到了混乱的影响，无法正确看待事物。赫敏和佩迪塔、伯爵夫人和苏珊娜等女性角色始终忠诚且不可动摇，她们站在故事的核心，追求真爱，并以直率和整体的眼光看待事物。直到男人能够经历使他们软化和理直气壮的转变，使他们与充满爱心的女性和谐相处，可以达到使故事更加圆满的最终形象。这就是“默默无闻的女主角”的真正意义。只要男性人物仍然以自我为中心并被“黑暗”所迷惑，她就将继续留在阴影中。无论她是“被动”还是“主动”（这些女性配对，赫敏和佩迪塔，伯爵夫人和苏珊娜，每个人都构成了两者的联盟），她都是故事中心的光明，被其他人的黑暗所掩盖。只有当男性角色消除了自身的黑暗之后，女性代表的光芒才能最终闪耀出来，照亮他们所有人。无论她是“被动”还是“主动”（这些女性配对，赫敏和佩迪塔，伯爵夫人和苏珊娜，每个人都构成了两者的联盟），她都是故事中心的光明，被其他人的黑暗所掩盖。只有当男性角色消除了自身的黑暗之后，女性代表的光芒才能最终闪耀出来，照亮他们所有人。无论她是“被动”还是“主动”（这些女性配对，赫敏和佩迪塔，伯爵夫人和苏珊娜，每个人都构成了两者的联盟），她都是故事中心的光明，被其他人的黑暗所掩盖。只有当男性角色消除了自身的黑暗之后，女性代表的光芒才能最终闪耀出来，照亮他们所有人。
An aspect of both these stories very near the heart of Comedy is the dramatic contrast between the role played by the chief masculine and feminine characters. In each story it is a man who is the chief dark figure, abusing his power and spreading disorder and misery in all directions because he is unable to see straight and whole. In each case the other leading male characters – Figaro and Polixenes – also get infected by the confusion and fail to see things straight. It is the feminine characters – Hermione and Perdita, the Countess and Susanna – who remain faithful and unshakeable, standing at the heart of the story for true love and for seeing things straight and whole. And it is not until the men can go through the transformation which softens them and straightens them out, bringing them into harmony with the loving feminine, that the final image of wholeness which rounds off the story can be reached. This is the true significance of ‘the obscured heroine’. So long as the male figures remain egocentric and confused by ‘darkness’, she will remain in the shadows. Whether she is ‘passive’ or ‘active’ (and these feminine pairings, Hermione and Perdita, the Countess and Susanna, each comprise an alliance of both) she is the light at the heart of the story, obscured by the darkness in others. Only when the male characters have eliminated the darkness in themselves can the light represented by the feminine at last shine out to illumine them all.
第7章
喜剧（二）：阴谋伪装
Chapter 7
Comedy (II): The Plot Disguised
”“看在上帝的份上，公主！” 他大声喊道，试图阻止她。“公主！” 她转过身来。他们静静地凝视着彼此的眼睛几秒钟——原本看似不可能和遥远的事情突然变得可能、不可避免且非常接近。
‘“Princess for God’s sake!” he exclaimed, trying to stop her. “Princess!” She turned round. For a few seconds they gazed silently into one another’s eyes – and what had seemed impossible and remote suddenly became possible, inevitable and very near.’
尼古拉·罗斯托夫致玛丽亚·博尔孔斯卡娅《战争与和平》
Nikolai Rostov to Maria Bolkonskaya, War and Peace
与任何其他基本情节相比，人们更容易将喜剧视为一种有意识设计的故事类型。与诸如《探索》或《战胜怪物》等故事的伟大原始形式相比，它们的起源在神话和传说中很模糊，喜剧似乎有些人为的成分。我们已经看到，与任何其他基本情节不同，喜剧情节是如何在历史时期出现的，并且只有在一系列阶段中才能充分发展。舞台喜剧的创作肯定有一种自觉的传统，这是任何其他类型的故事所不具备的。后文艺复兴时期的剧作家，如莎士比亚和莫里哀，非常清楚他们正在复兴希腊罗马先驱者建立的形式和惯例。
More than with any of the other basic plots, it may be tempting to see Comedy as a type of story arrived at by conscious contrivance. Compared with the great primeval shapes of, say, the Quest or the Overcoming the Monster story, with their misty origins in myth and legend, there seems to be something artificial about Comedy. We have already seen how, unlike any of the other basic plots, that of Comedy emerged in historical times and developed to its full extent only in a series of stages. There has certainly been a self-conscious tradition in the writing of comedies for the stage, in a way not true of any other kind of story. The playwrights of the post-Renaissance, such as Shakespeare and Molière, were very much aware they were reviving a form and conventions established by their Graeco-Roman forerunners. And when we consider such familiar situations and devices of Comedy as ‘the unrelenting father’ or the belated revelation of someone’s true identity through tokens or birthmarks, we might be tempted to conclude that later authors were merely writing ‘in a tradition’, consciously drawing on a stockpile of comic conventions bequeathed them by their predecessors.
但仅以这种方式解释喜剧情节的出现和持久力就回避了两个非常重要的问题。第一个问题是：为什么这种特殊的故事能够在如此长的时期内如此牢固地成为西方文明文学的中心线索之一？它一定表达了一些比仅用惯例的力量所能解释的更深层次的东西。
But to explain the emergence and staying power of the Comedy plot only in this way is to beg two hugely important questions. The first is: why did this particular kind of story establish itself so strongly, over such a long period, as one of the central threads in the literature of Western civilisation? It must have expressed something much deeper than can be accounted for just by the force of convention.
当我们看看喜剧情节比以往任何时候都开始退出舞台时发生的事情时，第二个问题就出现了。它最终是如何产生出那些似乎与戏剧作家所建立的传统几乎没有什么关系的故事呢？
The second question arises when we look at what happened when the Comedy plot, more than ever before, began to move off the stage. How did it eventually come to give rise to stories which seemed to owe little, if anything, to the tradition established by writers for the theatre?
当第一批可识别的现代小说在十八世纪开始出现时，喜剧成为其作者最明显被吸引的情节之一也许并不奇怪。半个世纪以来，喜剧一直是英国和法国舞台上最主要的故事类型。小说的先驱之一亨利·菲尔丁为伦敦舞台创作了许多喜剧，其中包括莫里哀的翻译作品。并且在最凭借他的小说《汤姆·琼斯》（1749）的成功，我们看到舞台喜剧的传统惯例是多么容易适应新的形式。
When the first recognisable modern novels began to appear in the eighteenth century, it was perhaps hardly surprising that Comedy should have been one of the plots to which their authors were most obviously drawn. For half a century comedies had been the most prominent type of story on the stages of England and France. One of the pioneers of the novel, Henry Fielding, had written many comedies for the London stage, including translations of Moliere. And in the most successful of his novels, Tom Jones (1749), we see how easily the traditional conventions of stage Comedy could be adapted to the new form.
小说的主题是一位出生在神秘环境中的“弃儿”少年英雄，在这个世界上寻找自己的真实身份。在整个故事中，他都被故事中主要的黑暗人物所笼罩。他的养弟布利菲尔显然对汤姆所不享受的一切世俗优势感到高兴。事实上，这两个人很像《丑闻学校》中的查尔斯和约瑟夫·表面。在“上层世界”的表面上，布利菲尔似乎是这对夫妇中受人尊敬、举止得体、成功的一个，合法且尽职尽责；但他却是一个值得尊敬的人。而精力旺盛、私生子的汤姆，心地善良，却经常被误解，似乎注定会贫穷和耻辱。
The theme of the novel is that of a young hero, a ‘foundling’ born in mysterious circumstances, who is searching for his true identity in the world. Throughout the story he is shadowed by the chief dark figure of the tale; his adoptive brother Blifil, who apparently rejoices in every worldly advantage that Tom does not enjoy. In fact the pair are very like Charles and Joseph Surface in The School for Scandal. Blifil seems on the ‘upper world’ surface to be the respectable, well-behaved, successful one of the pair, legitimate and dutiful; while the high-spirited, illegitimate Tom, kind-hearted but constantly misunderstood, seems doomed to poverty and disgrace.
几乎就像舞台喜剧一样，小说的情节分为三个主要“幕”。在第一部中，故事发生在萨默塞特郡的乡村，我们看到汤姆和布利菲尔都一心想要嫁给可爱的女主角索菲亚·韦斯特。她暗恋汤姆，但双方父母都坚决认为她应该嫁给布利菲尔；由于布利菲尔不择手段的阴谋，汤姆被赶出家门，在这个世界上寻找自己的出路。
Almost as in a stage Comedy the action of the novel is divided into three main ‘acts’. In the first, set in the countryside of Somerset, we see Tom and Blifil both setting their hearts on marrying the lovely heroine, Sophia Western. Secretly she loves Tom, but the parents on both sides are determined that she should marry Blifil; and the ‘act’ ends with Tom, thanks to Blifil’s unscrupulous machinations, being driven from home to find his own way in the world.
第二幕“汤姆漫无目的地游荡在乡村，并卷入了塞文河畔厄普顿的一家旅馆，这是多重误解的中心情节，这让人想起舞台喜剧的惯例。他遇到了“妖妇”并与她上床。就在这时，一直在追赶他的索菲亚出现，发现了他的所作所为，这让她对他产生了强烈的敌意。然后她的父亲也来了，并想象汤姆一定和索菲亚在床上。这造成了最大程度的误解，而这一“行为”的主要后果是让男女主角产生了分歧，这要归功于汤姆的弱点：这意味着他将不得不做更多的事情在达成任何幸福结局之前，证明自己真正配得上她。
The second ‘act’ shows Tom wandering aimlessly across the countryside and becoming involved in an inn at Upton-on-Severn in that central episode of multiple misunderstanding which is so reminiscent of the conventions of stage Comedy. He meets with a ‘Temptress’ and goes to bed with her. At just that moment, Sophia, who has been pursuing him, arrives to discover what he is up to, which turns her violently against him. Then her father also arrives and imagines Tom must be in bed with Sophia. This creates the greatest possible degree of misunderstanding all round, and the chief consequence of this ‘act’ is to set the hero and heroine at odds, thanks to Tom’s moment of weakness: which means he is going to have to do a great deal more to prove himself truly worthy of her before any happy ending can be reached.
在第三幕也是最后一幕中，所有主角分别聚集在伦敦，结局最终将在那里发生。我们从汤姆生活在晦涩、“劣等”的环境开始，通过各种善意和勇气的行为，他努力回到可以再次面对索菲亚并寻求和解的境地。但正如这一切似乎有可能发生的那样，他在与“妖妇”的第二次软弱行为中被发现，这位“妖妇”是专横而奸诈的贝拉斯顿夫人（他第一次在一次化装舞会上向她求爱，想象她是乔装的索菲亚）。这让他陷入了一场看似致命的灾难。由于贝拉斯顿夫人的阴谋，他最终入狱。在这里，他被告知，他在厄普顿做爱的第一个“妖妇”实际上是他自己的母亲。他似乎注定要永远留在下等的冥界了。与此同时，在“上层世界”，索菲亚与布利菲尔的婚姻正在安排之中。然后是一系列令人眼花缭乱的揭露，其中包括“认可”。汤姆发现了自己的真实身份：布利菲尔的哥哥。布利菲尔作为一个不择手段的恶棍和伪君子的真实本性终于暴露了。索菲亚认识到汤姆的真正价值，尽管他有过软弱的时刻，但他从未停止过爱她。他们的婚礼如期举行，举家欢欣鼓舞，而布利菲尔则作为“不甘心的黑暗人物”，在台下遭到了报应。布利菲尔作为一个不择手段的恶棍和伪君子的真实本性终于暴露了。索菲亚认识到汤姆的真正价值，尽管他有过软弱的时刻，但他从未停止过爱她。他们的婚礼如期举行，举家欢欣鼓舞，而布利菲尔则作为“不甘心的黑暗人物”，在台下遭到了报应。布利菲尔作为一个不择手段的恶棍和伪君子的真实本性终于暴露了。索菲亚认识到汤姆的真正价值，尽管他有过软弱的时刻，但他从未停止过爱她。他们的婚礼如期举行，举家欢欣鼓舞，而布利菲尔则作为“不甘心的黑暗人物”，在台下遭到了报应。
In the third and final ‘act’ all the main characters converge separately on London, where the denouement will eventually take place. We begin with Tom living in obscure, ‘inferior’ circumstances and, through various acts of kindness and courage, working his way back to the position where he can once again plausibly confront Sophia and seek a reconciliation. But just as this seems on the cards, he is caught out in a second act of weakness with a ‘Temptress’, the imperious and treacherous Lady Bellaston (whom he first woos at a masked ball imagining that she is Sophia in disguise). This lands him in what seems like a fatal catastrophe. Thanks to Lady Bellaston’s scheming, he ends up in prison. Here he is told that the first ‘Temptress’ he made love to at Upton was in fact his own mother. He seems doomed to remain in the inferior underworld forever. Meanwhile, in the ‘upper world’, arrangements are being made for Sophia’s marriage to Blifil. Then comes the dizzying series of revelations which comprise the ‘recognition’. Tom discovers his true identity, as Blifil’s elder brother. Blifil’s real nature as an unscrupulous villain and hypocrite is finally exposed. Sophia recognises Tom’s true worth and that, for all his moments of weakness, he has never ceased to love her. Their wedding is arranged, to universal rejoicing, while Blifil, as ‘unreconciled dark figure’, meets his come-uppance off stage.
柯勒律治常被引用的说法是，菲尔丁的小说拥有“有史以来最完美的三个情节”之一（另外两个是琼森的《炼金术士》和索福克勒斯的《俄狄浦斯王》），值得总结的是汤姆·琼斯之所以如此，是因为它表明，当喜剧从舞台转移到小说中时，其处理方式并没有多少新意。我们看到了所有熟悉的装置：伪装的角色；“无情的父母”；女主角与另一个女人混淆的任务；发现某人的真实身份是“识别”的重要组成部分。我们看到基于错误价值观的“上层世界”与“下层”世界之间的对比异常彻底，在“下层”世界中，真正的价值正在为最终被揭示并被带入光明的那一刻做准备：除了这里在故事的大部分时间里，是男主角而不是女主角被“掩盖”，而汤姆也必须努力证明自己的价值。与传统的“受委屈的女主角”不同，他绝不是完全无辜的。
Quite apart from Coleridge’s oft-quoted claim that Fielding’s novel had one of ‘the three most perfect plots ever planned’ (along with Jonson’s The Alchemist and Sophocles’s Oedipus Tyrannus), it is worth summarising Tom Jones in this way because it shows how little new there was to the treatment of Comedy when it moved off the stage into the pages of the novel. We see all the familiar devices: characters in disguise; ‘unrelenting parents’; assignations where the heroine is confused with another woman; the discovery of someone’s true identity as a crucial part of the ‘recognition’. We see an unusually thorough working out of the contrast between an ‘upper world’ based on false values and the ‘inferior’ world where true worth is preparing for the moment when it can finally be revealed and brought up into the light: except that here it is the hero rather than the heroine who spends most of the story ‘obscured’, and Tom also has to work hard to prove his worth. Unlike the conventional ‘wronged heroine’ he is by no means wholly innocent.
我们还在汤姆·琼斯身上看到，小说如何能够将导致最终出现的事件呈现为一个更渐进的过程，发生在很长一段时间内，更接近于成长和发展的过程。人类生活。五十年后，喜剧向小说情节的演变又迈出了重要的一步。在这里，在喜剧史上几乎独一无二的一集中，我们难得一睹这个情节——尽管它充满了技巧——直接源于“现实生活”的环境，展示了它是多么接近地表达了内心的模式作者自己的心理。
We also see in Tom Jones how the novel was able to present the events leading up to this final emergence into the light as a more gradual process, taking place over a long period of time, corresponding more nearly to the processes of growth and development in human life. Fifty years later came another major step in the evolution of Comedy into a plot for the novel. Here, in an episode almost unique in the history of Comedy, we are given a rare glimpse of this plot – for all its overtones of artifice – springing directly from the circumstances of ‘real life’, showing how closely it could express the inmost patterns of an author’s own psychology.
简·奥斯汀：喜剧如现实生活
Jane Austen: comedy as real life
1790 年代，一位十几岁的年轻女孩开始在汉普郡的一个教区长官邸里写小说。简·奥斯汀是七个孩子中的第六个，他们中的大多数已经结婚了，她已经到了这样一个年龄，她对未来的思考主要是她自己婚姻的可能性，而她的小说中最引人注目的事情之一就是它们反映的方式她的个人情况。除了作为一名女性，她将故事情节集中在女主角而不是英雄这一事实之外，评论家还指出，她将自己个性的各个方面深深地投射到了女主角身上。就在她全神贯注于猜测自己的生活如何在不确定的迷雾中展开，以找到她合适的“另一半”为中心目标时，她被最自然地表达这一点的情节所吸引。图案。
In the 1790s a young girl in her late ’teens began writing novels in a Hampshire rectory. The sixth of seven children, most of whom were already married, Jane Austen had reached an age where her thoughts about the future were dominated by the possibility of her own marriage, and one of the most striking things about her novels is the way they reflected her personal situation. Quite apart from the fact that, as a woman, she centred her versions of the plot on a heroine rather than a hero, critics have noted how deeply she projected aspects of her own personality into her heroines. And at the very time when she was preoccupied with speculation as to how her own life might unfold, through a fog of uncertainty, to that central goal of finding her right ‘other half’, she was drawn to the plot which most naturally expresses this pattern.
简·奥斯丁早逝后，她的家人一直给她留下了一个石膏圣人的印象（她的墓碑上刻着这样的字样，“她心地仁慈，脾气温和”），简·奥斯汀可能是一个讽刺的人，常常是易怒和直言不讳的女士，对别人的自命不凡和缺点有尖刻的舌头和敏锐的眼睛。在她完成的第一部小说《傲慢与偏见》中，我们看到了许多这样的特征，尤其是在她“活跃”、意志坚强的女主人公伊丽莎白·贝内特身上；故事的本质是漫长的逐渐转变，让伊丽莎白与富有、出身高贵的英雄达西达成妥协，也许是她自己希望嫁给的所有理想男人版本中最浪漫的一个。起初伊丽莎白认为达西过于骄傲和疏远。但随后，她的自尊心因被软弱、肆无忌惮的威克姆欺骗而受到挫败。她对达西的态度逐渐软化，我们看到他在她眼中逐渐证明自己，他在冷漠的外表下展现出既有男子气概又慷慨的心肠：直到最后两人都能“认识”并表达他们的爱。
Qualifying the impression of a plaster saint long fostered by her family after her early death (loved, as it was put on her tombstone, for ‘the benevolence of her heart, the sweetness of her temper’), Jane Austen could be an ironical, often prickly and outspoken lady, with a tart tongue and shrewd eye for the pretensions and shortcomings of others. In her first completed novel, Pride and Prejudice, we see many of these characteristics, not least in her ‘active’, strong-minded heroine Elizabeth Bennett; and the essence of the story is the long gradual transformation which allows Elizabeth to come to terms with the rich, nobly-born hero Darcy, perhaps the most romantically conceived of all the versions of the ideal man she herself might have hoped to marry. At first Elizabeth considers Darcy to be insufferably proud and remote. But then her own pride is humbled by her folly in being taken in by the weak, unscrupulous Wickham. Step by step she softens towards Darcy, and we see him gradually proving himself in her eyes, as he shows himself beneath his aloof exterior to be both manly and generous-hearted: until finally both can ‘recognise’ and reveal their love.
我们在这里看到的是一个完全由喜剧的基本形式塑造的故事，但在一种新的处理方式中，关于误解、伪装、无法识别身份和被抓住的“黑暗”人物的惯例不再出现在术语中旧的舞台装置，但更微妙的是，从最初的错误印象中逐渐揭示出人们的真实性格，并发现真实的感受，以一种更符合我们生活经验的方式。
What we see here is a story completely shaped by the underlying form of Comedy, but in a new kind of treatment where the conventions about misunderstandings, disguises, failure to recognise identity and ‘dark’ figures getting caught out are no longer presented in the terms of the old stage devices, but rather more subtly, in terms of the gradual revelation of people’s true character from behind first mistaken impressions, and the discovery of true feelings, in a way which corresponds more to our experience of life.
简·奥斯汀早期成熟小说三部曲中的另外两部：《理智与情感》和《诺桑觉寺》，我们再次看到两位女主人公克服各种误会和爱情纠葛，最终与男主人公幸福结合。在第一部中，埃莉诺·达什伍德代表了简·奥斯汀的另一个侧面，她是一位耐心、有原则的年轻女子，当她周围几乎所有其他人都表现得愚蠢或恶劣时，她静静地观察和等待，直到最后犯错的英雄能够从小“妖妇”的手中解脱出来。她把他抓在了怀里，然后悔恨地回到了令人钦佩、始终如一的埃莉诺身边。在第二部中，我们看到女主人公凯瑟琳·莫兰本人是一个相当愚蠢的女孩，她必须吸取教训才能与令人钦佩且始终如一的英雄亨利·蒂尔尼结合在一起；在这里，有人似乎有理由认为，精明、讽刺的蒂尔尼身上比女主人公身上更像简·奥斯丁。
In the other two of Jane Austen’s early trilogy of mature novels, Sense and Sensibility and Northanger Abbey, we again see two heroines working their way through all sorts of misunderstandings and love-tangles towards eventual happy union with the hero. In the first, Elinor Dashwood represents another aspect of Jane Austen as the patient, high-principled young woman who quietly watches and waits while almost everyone else around her behaves foolishly or badly, until finally the erring hero can be freed from the little ‘Temptress’ who had him in her clutches and returns contritely to the admirable and constant Elinor. In the second we see the heroine Catherine Morland as herself a rather foolish girl who has to learn her lesson before she can be united with the admirable and constant hero Henry Tilney; and here it has been plausibly suggested that there is more of Jane Austen in the shrewd, ironical Tilney than in the heroine.
当她的前三部小说完成但尚未出版时，简·奥斯汀已经经历了一生中最大的失望，当时她唯一的真爱詹姆斯·勒弗罗伊，一位身无分文的准律师，被强行从她身边夺走。他的家人，理由是，作为一个同样身无分文的牧师的女儿，她不合适。当她的父亲退休时，她遭受了进一步的毁灭性打击，将她曾经的家和工作场所交给了她的兄弟。她被迫与父母一起搬到巴斯的住所，她感到非常困惑，以至于十年来都没有写作。但当她终于能够与姐姐卡桑德拉一起在汉普郡的一间小屋安顿下来时，她开始了密集的写作，在 1811 年至 1816 年间又创作了三部小说，现在反映出来，她不再是一个对婚姻充满期待的少女，而是一个步入中年、婚姻希望破灭的老处女。部分原因是她遇到的男人能力不足。部分原因是她自己令人生畏的智慧和对他人缺点的敏锐洞察力。
By the time her first three novels had been completed but not yet published, Jane Austen had been through the greatest disappointment of her life, when her one true love, James Lefroy, a penniless would-be lawyer, had been torn away from her by his family, on the grounds that, as an equally penniless clergyman’s daughter, she would not be a suitable match. She then suffered a further devastating blow when her father retired, handing over the rectory which had been her home and workplace to her brother. Forced to move with her parents to lodgings in Bath, she felt so dislocated that she broke off from writing for a decade. But when she was finally able to settle down in a Hampshire cottage with her sister Cassandra, she embarked on the intensive burst of writing which between 1811 and 1816 produced three more novels, now reflecting the fact that she was no longer a young girl with every expectation of marriage but a spinster on the way to middle-age, who had seen her hopes of marriage dashed. Partly this was through the inadequacy of the men she had met; partly because of her own intimidating intelligence and sharp eye for other people’s faults.
这三部小说仍然完美地围绕着喜剧主题，展现了一位女主人公排除万难最终实现婚姻幸福结局的故事，我们再次看到简自己性格中相同的对比方面投射到了三个截然不同的中心人物身上。范妮·普莱斯，可怜的小女主角被引入她在曼斯菲尔德公园的富有表兄弟的家里，就像埃莉诺·达什伍德的重演一样，作为一个道德坚定的年轻女子，她看着周围所有其他年轻男女的愚蠢行为并逐渐被抓获；直到最后，悔悟的英雄埃德蒙才认识到她是一个多么有判断力和真感情的磐石，是唯一一个能正确看待世界并且没有背叛自己的人。
All three novels are still shaped perfectly round the Comedy theme, showing a heroine who against all odds finally achieves the happy ending of marriage, and again we see the same contrasted aspects of Jane’s own personality projected into their three, very different central characters. Fanny Price, the poor little heroine introduced into the household of her rich cousins in Mansfield Park, is like a rerun of Elinor Dashwood, as the unshakeably moral young woman who watches while all the other young men and women around her behave foolishly and progressively get caught out; until finally the contrite hero Edmund comes to recognise what a rock of good sense and true feeling she had been, the only one who saw the world straight and did not betray herself.
三部曲中的第二部《艾玛》也许是简·奥斯汀所有喜剧情节中最引人注目的一个，尤其是因为，正如《驯悍记》中的那样，我们看到了女主人公作为故事的主要“黑暗”人物的罕见奇观。艾玛·伍德豪斯（Emma Woodhouse）是一个虚弱、体弱多病的父亲的独生女，她是一个专横、任性、个性强大的女孩，既容易严厉批评别人的弱点，又会试图组织自己的生活。从这个意义上说，作为一个“活跃”的女主角，她就像一个更黑暗、更爱干涉、更自我毁灭的伊丽莎白·贝内特版本。只有一个人，奈特利先生，有足够的品格与艾玛抗衡，也有足够的心智认识到，在她专横的自欺欺人的能力之下，隐藏着一个潜在的敏感、女性化和可爱的女孩，却被她专横的外在形象所窒息。。当艾玛试图将她年轻的门生与奈特利先生带到一起时，当艾玛最终在为哈丽特牵线搭桥的过程中被发现时，“认识”就发生了，她“醒悟”起来，意识到自己是一个多么愚蠢的人。 ，而且真正爱奈特利先生的是她自己。以她愚蠢的姿态，完全忽略了他才是她真正的“另一半”。但同样，如果她没有发现自己另一个更柔和、更压抑的身份，他永远也不会接受她。在他们两个能够走到一起之前，她真正的内在女性自我必须从她坚强、优越的人格所压抑的阴影中被拯救出来。
The second of the three, Emma, is perhaps the most remarkable of all Jane Austen’s variations on the Comedy plot, not least because, as in The Taming of the Shrew, we see the rare spectacle of the heroine as the chief ‘dark’ figure of the story. Emma Woodhouse, the only child of a weak, valetudinarian father, is a bossy, wilful girl of powerful personality, prone both to be severely critical of other people’s weaknesses and to try to organise their lives. In this sense, as an ‘active’ heroine, she is like a darker, more interfering, more self-destructive version of Elizabeth Bennett. Only one person, Mr Knightley, has the strength of character to stand up to Emma and the shrewdness of heart to recognise that beneath her capacity for bossy self-deception there is a potentially sensitive, feminine and lovable girl being stifled by her domineering outward persona. The ‘recognition’ takes place when, as Emma is finally caught out in her match-making on behalf of Harriet, by trying to bring her young protégée together with Mr Knightley, she ‘comes to herself’ in realising what a fool she has been, and that it is really she herself who loves Mr Knightley. In her foolish persona she had completely overlooked the fact that he was her proper ‘other half’. But equally, if she had not discovered her other, softer, repressed identity, he would never have accepted her. Her true inner feminine self has to be rescued from the shadows into which it has been repressed by her hard, superior persona, before the two of them can be brought together.
如果简·奥斯汀在她最后完成的小说《劝说》中，也许无意识地反映了她自己的性格使她很难找到合适的奈特利先生的一个原因。她以更明显的方式表达了她的忧郁。在这里，我们再次看到了那个默默观察别人滑稽动作的不变的女主人公，只是这一次安妮·埃利奥特觉得自己已经太老了，不再希望结婚了：半是屈服于老处女，半是遗憾地回望自己一次真正错失的机会，当她在专横的姨妈的催促下愚蠢地拒绝了温特沃斯上尉，扮演了“无情的父母”的角色。然后，几乎令人难以置信的是，温特沃斯上尉再次出现，仍在寻找妻子。但安妮现在不得不看着他向其他人求爱，这些人比她年轻、愚蠢、不适合。当安妮自己被一个她几乎可以接受的男人追求并安慰她的失望时，这种纠结变得更加严重。直到他显露出自己弱者的本性，奸诈的玩弄女士感情的小人物（奥斯汀小说中反复出现的人物，与她令人钦佩的、坚强的、始终如一的“光明”男女主人公相反的终极“黑暗”）。最后，男女主人公都可以自由地“认识”他们潜意识中长期以来一直在成长的东西：他们仍然彼此相爱，没有什么可以再将他们分开。因此，最后一次在她的故事中（她在写作时已经感到恶心）说服并于次年去世），简·奥斯汀能够想象达到她一生中一直无法实现的幸福结局。
If Jane Austen was perhaps unconsciously reflecting here one reason why her own personality had made it difficult for her to find the right Mr Knightley, in her last completed novel Persuasion she expressed her melancholy in a more obvious way. Here we again see the constant heroine who quietly observes the antics of others, only this time Anne Elliott feels she is getting too old to hope for marriage: half-resigned to spinsterhood, half looking back with regret to her one real missed chance, when she had foolishly turned down Captain Wentworth at the urging of her tyrannical aunt, playing the role of ‘unrelenting parent’. Then, almost unbelievably, Captain Wentworth turns up again, still looking for a wife; but Anne now has to watch him wooing others, much younger, more foolish and unsuitable than herself. The tangle becomes still worse when Anne herself is wooed by a man whom she might almost accept, to console her for her disappointment; until he reveals his true nature as a weak, treacherous trifler with ladies’ affections (a recurring figure in Austen’s novels, the ultimate ‘dark’ opposite to her admirable, strong and constant ‘light’ heroes and heroines). At last both hero and heroine are free to ‘recognise’ what has been subconsciously growing in each of them for a long time: that they still love each other and that nothing can any longer keep them apart. And so, for the last time in her stories (she was already sickening while she was writing Persuasion and died the following year), Jane Austen was able to imagine arriving at the happy ending which was always to elude her in life.
隐藏的情节：《米德尔马契》、《战争与和平》
The plot disguised: Middlemarch, War and Peace
到了十九世纪中叶，喜剧情节在其新的化身中已经非常成熟，以至于它出现在各地的小说中（尽管巴尔扎克的小说序列《人间喜剧》很大程度上是由其他情节塑造的）。在许多情况下，舞台喜剧中熟悉的惯例继续出现，例如作为“识别”的一部分在最后一刻发现某人的真实身份（例如狄更斯的《我们共同的朋友》，特罗洛普的《索恩医生》）。但在一些最熟悉的例子中，喜剧如今已经远离了它的戏剧起源，并成功地伪装成新角色，以至于我们甚至可能没有注意到相同的原型情节正在塑造故事。
By the mid-nineteenth century the Comedy plot had become so well established in its new incarnation that it crops up in novels all over the place (although Balzac’s novel-sequence La Comedie Humaine is largely shaped by other plots). In many instances the familiar conventions of stage Comedy continued to appear, such as the last-minute discovery of someone’s true identity as part of the ‘recognition’ (e.g., Dickens’s Our Mutual Friend, Trollope’s Doctor Thorne). But in some of the most familiar examples Comedy had by now travelled so far from its theatrical origins and become so successfully disguised in its new role that we might not even notice that the same archetypal plot is shaping the story.
我们将简要地看一下当时最著名的小说中的两部“伪装喜剧”。第一个是乔治·艾略特的《米德尔马契》（1871-1872），这当然是由一位女性写的，以女主人公为中心。这部长篇小说的开头几集展示了高尚的年轻多萝西娅·布鲁克被卷入婚姻的故事。但很明显，这并不是幸福结局的前奏。她的丈夫卡苏邦博士是一位干瘪的老牧师和业余学者，年龄足以成为她的父亲，而这种“父女”的平衡最终成为他们不愉快关系的关键。早在结婚之前，多萝西娅就已经认识了卡苏邦的侄子、英俊的年轻艺术家威尔·拉迪斯瓦夫，这在代表死亡的乏味老学究和代表生命的浪漫年轻画家之间建立了鲜明的对比。多萝西娅的婚姻很快就被认为是一场空洞的监禁骗局，因为很明显，小气、浮夸、嫉妒的卡苏朋，痴迷于他那本永远不会被写成的神话书，是一个空洞而自以为是的骗子。但最终他去世了，留下了一份遗嘱，规定多萝西娅只有在不嫁给拉迪斯瓦夫的情况下才能继承他的大量遗产。到目前为止，他们的脑子里还没有出现这种事情的可能性，但现在它开始分别对他们每个人进行掠夺：尽管当然不可能，因为卡苏朋的禁止。因此，多萝西娅死去的丈夫实际上从坟墓中扮演了“无情的父亲”的角色，阻碍了这对年轻恋人的团聚。喜剧情节中其他熟悉的元素也出现了：拉迪斯瓦夫发现了他长期隐藏的出身真相；多萝西娅看到他和另一个女人牵着手，非常嫉妒，错误地认为他们有外遇。最终，当多萝西娅意识到她对拉迪斯瓦的爱超越了一切时，“认可”到来了。恋人面对面，宣告爱情，一起走向解放的未来。
We shall look briefly at two of these ‘disguised Comedies’, among the best-known novels of the age. The first is George Eliot’s Middlemarch (1871–1872), which of course was written by a woman and centres on a heroine. The opening episodes of this long novel show the high-minded young Dorothea Brooke being drawn into marriage. But it is immediately clear that this is no prelude to a happy ending. Her husband, Dr Casaubon, is a dry-as-dust old clergyman and amateur scholar, old enough to be her father, and this ‘father-daughter’ balance turns out to be the key to the real nature of their unhappy relationship. Even before the marriage Dorothea has already met Casaubon’s nephew, the handsome young artist Will Ladislaw, and this establishes the contrast between the tedious old pedant, representing death, and the romantic young painter, representing life. Dorothea’s marriage is soon seen to be an empty imprisoning sham, as it becomes clear that the petty, pompous, jealous Casaubon, obsessed with his never-to-be-written book on myths, is an empty and self-important fraud. But eventually he dies, leaving a will which lays down that Dorothea can only inherit his considerable estate so long as she does not marry Ladislaw. Up to this point, the possibility of such a thing has not entered their heads, but now it begins to prey on each of them separately: although of course it cannot be, because of Casaubon’s prohibition. Dorothea’s dead husband thus, in effect, assumes from the grave the role of ‘unrelenting father’, standing in the way of the young lovers getting together. Other familiar elements of the Comedy plot appear: Ladislaw discovers the long-concealed truth of his parentage; Dorothea sees him holding hands with another woman and is miserably jealous, wrongly imagining they are having an affair. Finally ‘recognition’ comes when Dorothea realises that her love for Ladislaw transcends everything. The lovers confront each other, declare their love and walk liberated together into the future.
这一时期另一部以喜剧情节为基础的小说是列夫·托尔斯泰的《战争与和平》（1868），其规模更为宏大。在我们在开篇章节中遇到的数十个角色中，有四个年轻人，他们都即将踏上更广阔的世界舞台。首先是身材高大、笨拙、内向的皮埃尔。然后，在罗斯托夫家里，有年轻的尼古拉，外向地期待着他的军队生涯，还有他活泼的妹妹娜塔莎，最后还有害羞、精神的玛丽亚，和她的老父亲住在乡下的家里。 ，退役将军博尔孔斯基亲王。主要有这些故事的男女主角；尽管我们还必须包括玛丽亚的兄弟，年长的安德鲁王子，他已经结婚并作为一名迅速崛起的年轻军官出现在世界舞台上。
Cast on a much grander scale, another novel of the period shaped by the Comedy plot was Leo Tolstoy’s War and Peace (1868). Among all the dozens of characters we meet in the opening chapters are four young people, all on the verge of embarking on the wider stage of the world. First there is the huge, awkward, introverted Pierre. Then, in the Rostov family, there are young Nikolai, extrovert-edly looking forward to his career in the army, and his lively younger sister Natasha, Finally there is the shy, spiritual Maria, living at home in the country wtth her old father, the retired general Prince Bolkonsky. These are the main heroes and heroines of the story; although we must also include Maria’s brother, the rather older Prince Andrew, already married and out on the stage of the world as a fast-rising young officer.
毫无疑问，谁是故事中主要的黑暗人物。在本书的开篇中，自封的拿破仑皇帝就像地平线上遥远的云彩一样若隐若现。他贪得无厌的野心给每个人都蒙上了越来越大的阴影，首先是 1805 年俄罗斯人和法国人在奥地利发生的伟大对抗（尽管这与俄罗斯本身仍然保持着相当舒适的距离）；但最终，随着 1812 年的入侵，它突然闯入了俄罗斯的心脏和所有主角的生活。
There is no doubt who occupies the role of chief dark figure in the story. The self-created Emperor Napoleon looms up like a distant cloud on the horizon in the opening line of the book. His insatiable ambition casts an ever-growing shadow over everyone, first coming to a head in the great confrontation between the Russians and the French in Austria in 1805 (although this is still at a reasonably comfortable distance from Russia itself); but finally, with the invasion of 1812, bursting right into the heart of Russia and the lives of all the main characters.
在这幅巨大的画布和喧嚣的重大事件中，将整个叙事联系在一起的是中心四位人物与安德鲁王子一起经历各种误解、不确定性和爱情转变的命运。我们跟随皮埃尔经历了他父亲的去世、他与妖妇海伦·库拉金的灾难性婚姻、他探索“生命意义”的漫长而痛苦的内心旅程。我们跟随尼古拉经历了他青少年时期对小索尼娅的爱，以及他作为一名军官的性格塑造冒险。我们看到小娜塔莎成长为一个成年的、“活跃的”女英雄，在安德鲁王子的妻子去世后爱上了他，与他订婚，然后陷入了对不择手段的财富猎人阿纳托尔·库拉金的迷恋的灾难性愚蠢之中。
Across all this vast canvas and tumult of great events, what binds the whole narrative together is the working out of the destinies of the central four figures, with Prince Andrew, through every kind of misunderstanding, uncertainty and switch of love. We follow Pierre through the death of his father, his disastrous marriage to the temptress Helene Kuragin, his long and painful inner journey to discover ‘the meaning of life’. We follow Nikolai through his adolescent love for little Sonia, and his character-forming adventures as an army officer. We see little Natasha blossoming into an adult, ‘active’ heroine, falling in love with Prince Andrew after the death of his wife, getting engaged to him and then falling into the disastrous folly of her infatuation with the unscrupulous fortune-hunter Anatole Kuragin. We have earlier seen the Princess Maria rejecting a cynical offer of marriage from the same dark figure, before sinking into a long ‘passive’ eclipse under the shadow of her tyrannical old father, imagining she will always remain a spinster.
然后是博罗季诺和拿破仑占领燃烧的莫斯科，在这一刻，黑暗似乎完全降临，所有的人物都在书中混乱的高潮情节中随心所欲地被扔来扔去。皮埃尔已经开始感受到对娜塔莎的爱与日俱增，却陷入了“低等境界”，首先是他卑微地在被占领的莫斯科徘徊，然后是他每天作为战俘在西行长征中的艰辛。他期待着死亡，尽管正是在这个深处，他遇到了老农民柏拉图，他的智慧改变了他的生活。尼古拉在撤退到莫斯科的混乱中遇到了玛丽亚公主并给予了帮助，然后又陷入了随后的战斗的进一步混乱。娜塔莎，在罗斯托夫一家从莫斯科逃亡的混乱中，与垂死的安德鲁王子和解；然后开始意识到她爱皮埃尔。玛丽亚公主在与尼古拉发生了重大的会面后，开始从她残暴的老父亲的阴影中走出来，并意识到她爱尼古拉。
Then comes Borodino and Napoleon’s occupation of burning Moscow, the moment when darkness seems complete and all the characters are hurled about, willy-nilly, in the book’s climactic episode of confusion. Pierre, who has already begun to sense a growing love for Natasha, is plunged into an ‘inferior realm’, firstly through his wandering about occupied Moscow in humble disguise, then through his hardships on the long march westward as a prisoner of war, daily expecting death, although it is in these depths that he meets the old peasant Platon whose wisdom transforms his life. Nikolai, in the chaos of the retreat to Moscow, meets and gives assistance to Princess Maria, before plunging into the further chaos of the ensuing battles. Natasha, in the chaos of the Rostovs’ flight from Moscow, is reconciled with the dying Prince Andrew; and then begins to realise that she loves Pierre. Princess Maria, after her eventful meeting with Nikolai, begins to emerge from the shadow of her tyrannical old father, and realises that she loves Nikolai.
最后，当拿破仑下令从莫斯科撤退时，笼罩在他们身上的更大的阴影开始消散。随着故事节奏的加快，故事中的主要黑暗人物和他那支饱受摧残的军团，被耻辱地驱逐出了舞台。当光明重新回到俄罗斯时，这本书走向了一个结论，在整个过程中，这个结论似乎完全不可能。皮埃尔和娜塔莎重逢，宣布爱情并结婚。尼古拉和玛丽亚再次相遇，发现了彼此的爱，并结婚了。二一对看似不太可能的情侣以一种方式走到了一起，如果没有战争的混乱、苦难和背井离乡给他们带来的沧桑和痛苦的自我发现，他们就不可能走到一起。在他们两个快乐的结合中，我们看到了俄罗斯本身更大命运的缩影，俄罗斯人民已经度过了巨大的危机，这场危机使她的人民发现了他们内心最深处的民族认同感，现在又迎来了和平，并重新焕发了胜利的生活感。
Finally the much greater shadow which has fallen over all of them begins to lift, when Napoleon orders the retreat from Moscow. With gathering pace, the chief dark figure of the story, with his battered legions, is bundled towards ignominious expulsion from the stage. As the light returns to Russia, the book moves towards a conclusion which, through most of its course, would have seemed totally improbable. Pierre and Natasha are reunited, declare their love and marry. Nikolai and Maria meet again, discover their love for each other, and also marry. Two unlikely couples have been brought together in a way which could not have happened without the vicissitudes and painful self-discoveries forced on them by the chaos, the suffering and uprooting of the war. And in their two joyful unions we see a microcosm of the greater fate of Russia itself, having come through the colossal crisis which had enabled her people to discover their inmost sense of national identity and now emerging into peace with a triumphant sense of life renewed.
但当然《战争与和平》并没有就此结束。在托尔斯泰的尾声中，我们将时间向前推进了几年，让我们得以一睹两对夫妇婚后的家庭生活。早期基于喜剧情节的小说作者，如菲尔丁和简·奥斯汀，能够保持在原型框架内，并以婚礼这一伟大的象征形象来结束他们的故事。但托尔斯泰如此专注于故事中的“现实”和历史元素，以至于他忍不住想看看接下来发生了什么，故事在原型结局之后如何继续；结果是，当他探索不可避免地成为后果一部分的紧张和分歧时，他面临着消除团结和更新生活的最终形象的影响的危险，1
But of course War and Peace does not end there. In Tolstoy’s Epilogue we are carried forward a few years to be given a glimpse of the family life of the two couples after their marriage. Earlier authors of novels based on the Comedy plot, such as Fielding and Jane Austen, were able to remain within the archetypal framework and to end their stories quite happily on the great symbolic image of the wedding. But Tolstoy was so preoccupied with the ‘realistic’ and historical element in his story that he could not resist wanting to see what happened next, how the story continued after the archetypal ending; with the result that, as he explored the strains and disagreements which would inevitably be part of that aftermath, he was in danger of dissipating the impact of that final image of unity and life renewed, by allowing his story to peter out on an unresolved image of new disunity and uncertainty.1
这只是 19 世纪中叶喜剧情节开始出现的问题的一个例子，因为喜剧逐渐脱离了原来的表达形式。并不是情节结构发生了变化；而是情节发生了变化。简单地说，它的用途可能会使其脱离其最初的原型基础。这导致了情节历史的一个新阶段，在过去一个世纪左右的时间里，它极大地改变了它在西方故事讲述中的角色。
This was merely one instance of the problems which were beginning to surround the Comedy plot in the mid-nineteenth century as it moved away from its original forms of expression. It was not that the plot was changing its structure; simply that it was being put to purposes which were threatening to detach it from its original archetypal foundations. And this was leading to a new phase in the history of the plot which has, in the past century or so, drastically altered its role in Western storytelling.
剧情滑稽
The plot burlesqued
自喜剧诞生以来，最引人注目的事情之一就是它在表面上轻松地呈现明显难以置信的事件和本质上严肃的核心之间保持了平衡。阿里斯托芬、莎士比亚或莫扎特的喜剧奇迹的部分原因在于，它们在不断引起观众笑声的同时，还成功地探索了人类生活中一些最深刻的问题。但在十九世纪，随着喜剧转向新的表达形式，有迹象表明这种平衡正在失去。托尔斯泰绝不会认为《战争与和平》是一部“喜剧”，尽管他无意识地借鉴了古代战争与和平的原型轮廓。情节，因为他强调其严肃、“现实”的元素，以创造有史以来最伟大、最深刻的小说之一。很快我们就会看到另一个方向发生的事情，喜剧开始以保留轻松愉快而失去严肃核心的形式使用，这种趋势首先在舞台上表现出来。
Ever since its beginnings one of the most remarkable things about Comedy was the way it had preserved a balance between the superficially light-hearted presentation of apparently quite implausible events and a core of fundamental seriousness. Part of the miracle of the comedies of Aristophanes or Shakespeare or Mozart is that, while constantly provoking their audiences to laughter, they manage to explore some of the deepest issues of human life. But in the nineteenth century, as Comedy moves into new forms of expression, there are signs that this balance is being lost. Tolstoy would never have thought of War and Peace as a ‘comedy’, even though unconsciously he was drawing on the archetypal outlines of the ancient plot, because he was emphasising its serious, ‘realistic’ element to create one of the greatest and most profound novels ever written. And shortly we shall look at what was happening in the other direction, as Comedy began to be used in forms which preserved the lightheartedness while losing its core of seriousness, a tendency which first showed itself on the stage.
事实上，在舞台上，喜剧自上世纪的鼎盛时期以来，到了十九世纪中叶就相对黯然失色了。1868年（碰巧，托尔斯泰开始出版《战争与和平》的那一年），它以一种似乎与莫扎特和罗西尼早期歌剧喜剧的传统没有多大关系的形式引人注目地重新出现。瓦格纳的《名歌手》是一部独特的歌剧。它毫无疑问是由喜剧的情节和惯例塑造的（甚至有一个喜剧的“午夜分配场景”，其中另一个女人扮演女主角），但它的作曲家本来打算将其视为一部本质上非常严肃的作品。我们将结合另一部不寻常的歌剧，理查德·施特劳斯和雨果·范·霍夫曼斯塔尔的歌剧来简要地考虑它。《玫瑰骑士》（1911），更明显地保持了轻松的外表和严肃的内核之间的平衡；尽管它被自觉地置于十八世纪的“莫扎特式”背景中，仿佛认识到，到二十世纪初写成时，除了模仿之外，已经不可能再保持传统的平衡了。
On the stage, in fact, Comedy had by the mid-nineteenth century fallen into relative eclipse since its prominence in the previous century. In 1868 (as it happens, the year Tolstoy began publishing War and Peace), it made a conspicuous reappearance in a form which seemed to owe little to the tradition of the earlier operatic comedy of Mozart and Rossini. Wagner’s Die Meistersinger is a unique opera. It is unmistakably shaped by the plot and conventions of Comedy (even to the extent of having a comic ‘midnight assignation scene’ where another woman impersonates the heroine), But it was intended by its composer as a fundamentally very serious work. And we shall consider it briefly in conjunction with another unusual opera, Richard Strauss and Hugo van Hofmannsthal’s Der Rosenkavalier (1911), which even more obviously managed to preserve the balance between light-hearted exterior and serious core; although it was self-consciously placed in an eighteenth-century ‘Mozartian’ setting as if to recognise that by the time it was written in the early-twentieth century it was no longer possible to keep the traditional balance except in terms of pastiche.
从本质上讲，这两部歌剧有很多共同点。每个故事都以四个人物为中心：一位年轻的英雄和一位年轻的女主角；一个粗鲁、麻木不仁的黑暗人物，是女主人公的对手；一个年长的人物在幕后无私地策划了英雄最终成功地追求女英雄。
Essentially, the two operas have much in common. Each is centred on four figures: a young hero and a young heroine; a boorish, insensitive dark figure who is a rival for the heroine’s hand; and an older figure who selflessly masterminds from behind the scenes the hero’s ultimately successful wooing of the heroine.
名歌手当女主人公伊娃（Eva）成为任何男人都可以赢得的最高奖项时，她的父亲是当地一位著名的公民，宣布谁赢得了纽伦堡大师歌手举办的伟大歌曲比赛，谁就可以嫁给她，有三个可能的竞争者：首席黑暗人物贝克梅瑟，一位痴迷于公会传统歌曲创作规则的首席主唱；主人公瓦尔特·冯·斯托尔津是这座城市的一个不知名的新来者，他在开场场景中看到了伊娃，爱上了她，并决心赢得她；还有一位神秘的年长人物，也是一位资深的歌手，明智而慈父般的汉斯·萨克斯。最初，这位英雄似乎注定要失败，因为他第一次创作歌曲就打破了大师歌手协会为歌曲创作制定的所有复杂规则，并且他被贝克梅塞尔严厉地排除在外。只有萨克斯认为，瓦尔特歌颂爱情、春天和新生命的歌曲实际上是异常美丽的。因此，名歌手们对瓦尔特的拒绝表明他们是一个基于错误价值观和有限意识的“上层世界”，而处于“下层境界”的英雄则代表了他们（尤其是贝克梅瑟）完全缺乏的生活和真理。随着剧情的进展，贝克梅瑟越来越显露出荒唐、自我中心和反生活的一面。伊娃担心他可能会赢得比赛，从而与她结婚。并想紧紧抓住她的“父亲形象”汉斯·萨克斯，但他告诉她，他对她来说太老了，她必须有信心和勇气继续前进，拥抱新生活的前景。最终，两个主要竞争对手来到了全城居民面前在最后的测试中，两人实际上都打算尝试同一首歌，因为贝克梅瑟偷了瓦尔特写的歌曲的副本，想象它是老大师萨克斯的作品。贝克梅塞尔完全搞砸了，因为他不接触生活，在舞台上被嘲笑为“不甘心的黑暗人物”，几乎和夏洛克一样令人难忘。瓦尔特胜利地赢得了比赛并赢得了伊娃的芳心，歌剧以一首普遍的赞美诗结束，歌颂明智的萨克斯，正是他引导故事走向了圆满的结局。
In Die Meistersinger the heroine Eva is established as the supreme prize for any man to win when her father, a prominent local citizen, announces that whoever wins the great song contest held by the Mastersingers of Nuremburg may be given her hand in marriage, There are three possible competitors: the chief dark figure Beckmesser, a leading Mastersinger who is obsessed with the Guild’s traditional rules of song composition; the hero, Walther von Stolzing, an unknown newcomer to the city who sees Eva in the opening scene, falls in love with her and is determined to win her; and a mysterious older figure, also a veteran Mastersinger, the wise, fatherly Hans Sachs. Initially the hero seems doomed because his first effort at a song breaks all the complicated rules laid down for songwriting by the Guild of Mastersingers, and he is grimly ruled out of order by Beckmesser. Only Sachs perceives that Walther’s song in praise of love, spring and new life is in fact of exceptional beauty. The Mastersingers’ rejection of Walther thus shows them to be an ‘upper world’ based on false values and limited awareness, while the hero, in the ‘inferior realm’, represents the life and truth which they (particularly Beckmesser) completely lack. As the action prcceeds, Beckmesser is more and more revealed as absurd, egocentric and anti-life. Eva dreads the possibility that he might win the contest and therefore her hand in marriage; and would like to hang on to her ‘father-figure’ Hans Sachs, But he tells her that he is too old for her, and that she must have faith and courage to move forward, to embrace the prospect of new life. Eventually the two chief competitors come before all the inhabitants of the city for the final test, Both are in fact intending to attempt the same song, because Beckmesser has stolen a copy of the song written by Walther, imagining that it is the work of the old master Sachs. Beckmesser makes a complete hash of it, because he is not in touch with life, and is laughed off the stage as an ‘unreconciled dark figure’ almost as memorable as Shylock. Walther triumphantly wins the contest and Eva’s hand, and the opera ends with a universal hymn of praise to the wise Sachs who has guided the story to its happy conclusion.
玫瑰骑士年长人物的角色由元帅扮演，她是一位威严的中年早期女士（尽管她实际上只有 32 岁），有一个年轻的情人奥克塔维安。贝克梅瑟的角色由她粗野好色的表弟奥克斯男爵扮演，他告诉她他希望娶一位可爱的年轻女继承人索菲。元帅能否推荐一位合适的年轻人为他的未婚妻携带传统的“银玫瑰”，以表明他的意图？故事的情节展示了年长的女人如何无私地派遣年轻的奥克塔维安去追求索菲，名义上是代表奥克斯，但结果是可预见的，男女主角坠入爱河。苏菲的父亲是一位暴发户，希望女儿嫁入贵族，扮演“无情父亲”的传统角色，试图强迫她与她厌恶的男人结婚；但当奥克斯被引诱与年轻女孩玛丽安德尔进行午夜任务时，元帅策划了奥克斯的最终路线，而玛丽安德尔原来是伪装的英雄。愚蠢的男爵被暴露，并在舞台上被嘲笑为“不甘心的黑暗人物”。在元帅的祝福下（尽管对自己青春的逝去略带忧伤），奥克塔维安和索菲幸福地结合在一起。
In Der Rosenkavalier the part of the older figure is played by the Marschallin, an imposing lady portrayed as in early middle age (although she is in fact only 32), who has a young lover Octavian. The Beckmesser role is played by her boorish and lecherous cousin, Baron Ochs, who tells her he is hoping to marry a lovely young heiress Sophie. Can the Marschallin recommend a suitable young man to carry the traditional ‘silver rose’ to his fiancee, to demonstrate his intentions? The action of the story shows how the older woman selflessly sends her young Octavian to woo Sophie, nominally on behalf of Ochs, but with the predictable result that hero and heroine fall in love. Sophie’s father, a nouveau riche who wishes his daughter to marry into the nobility, plays the traditional role of ‘unrelenting father’ in trying to force her into marriage with a man she detests; but the Marschallin masterminds the final routing of Ochs when he is lured into a midnight assignation with a young girl Mariandl, who turns out to be the hero in disguise. The foolish Baron is exposed and laughed off the stage as ‘unreconciled dark figure’. With the Marschallin’s blessing (albeit tinged with melancholy for the passing of her own youth), Octavian and Sophie are joyfully united.
这两个故事都以不同寻常的微妙方式展现了一个主题，自从喜剧第一次以一对年轻恋人为中心以来，这个主题就一直是喜剧的核心，事实上它也是许多其他类型故事的核心：传递给新一代的生命火炬。我们看到的统治秩序已经腐败，与生活脱节，通常以“无情的父母”为代表，这里的代表是贝克梅瑟和颓废的贵族奥克斯。然后，我们看到在它的阴影中出现了新生命的种子，在年轻男女主角萌芽的爱情中；直到最终其中一人或两人从“低等境界”的阴影中升起，故事才能以他们最终在舞台中央团结起来而告终。向一个健康的新秩序的过渡已经完成，这给未来带来了希望。
Both these stories bring out with unusual subtlety a theme which had lain near the heart of Comedy ever since it first became centred on a pair of young lovers, as indeed it lies at the heart of so many other types of story: the handing on of the torch of life to a new generation. We see a ruling order which has become corrupt and out of touch with life, so often represented by the ‘unrelenting parent’ and here by Beckmesser and by the decadent aristocrat Ochs. We then see appearing in its shadow the seeds of new life, in the burgeoning love of the young hero and heroine; until eventually one or both are raised up from the shadows of the ‘inferior realm’, so that the story can end with them at last united centre stage. The transition to a new, healthy order, holding out hope for the future, is complete.
但如果这是喜剧核心最严肃的主题之一，那么在《名歌手》和《玫瑰骑士》之间的四十年里，喜剧情节已经在欧洲音乐舞台上进入了流行的新时代，其形式是严肃的元素在故事中几乎被遗忘了。在奥芬巴赫的巴黎、施特劳斯的维也纳、吉尔伯特和沙利文的伦敦，这是“喜剧”或轻歌剧的鼎盛时期。在这里，我们突然看到情节中所有熟悉的成分都在被玩弄，其方式看起来就像是传统形式的滑稽剧。
But if this is one of the most serious themes near the heart of Comedy, in the forty years between Die Meistersinger and Der Rosenkavalier the Comedy plot had swept into a new age of popularity on the European musical stage, in a form where the serious element in the story had been all but lost sight of. In Offenbach’s Paris, Strauss’s Vienna, Gilbert and Sullivan’s London, this was the heyday of ‘comic opera’ or operetta. And here we suddenly see all the familiar ingredients of the plot being played with, in a way which seems simply like a burlesque of the traditional form.
施特劳斯的《蝙蝠》（1874）和《吉普赛男爵》（1885）等故事完美地按照喜剧情节的模式塑造，并充满了各种传统手段：伪装、女主人公与另一个女人混淆的分配，真实身份的惊人揭露（包括在《吉普赛男爵》中发现吉普赛女主角实际上是一位公主，《蝙蝠》中的女主角实际上是一位神秘的匈牙利公主）等等。但与以前的喜剧不同的是，我们从来没有意图在故事中寻找严肃的信息。就好像喜剧情节的媒介及其所有熟悉的惯例本身已经成为唯一的信息。
Stories such as those of Strauss’s Die Fledermaus (1874) and The Gypsy Baron (1885) are perfectly shaped by the pattern of the Comedy plot, and crowded with every sort of traditional device: disguises, assignations where the heroine is confused with another woman, startling revelations of true identity (including in The Gypsy Baron the discovery that the gypsy heroine is in fact a princess, in Die Fledermaus that a mysterious Hungarian princess is in fact the heroine), and so forth. But in a way not true of Comedy before, there is never any intention that we should look for a serious message in the story. It is as if the medium of the Comedy plot, with all its familiar conventions, has itself become the only message.
这些惯例在当代英国的维也纳轻歌剧、吉尔伯特和沙利文的“喜剧歌剧”中得到了更明显的讽刺。例如，在《彭赞斯的海盗》（1880）中，整个女合唱团（一位少将的女儿）都爱上了男合唱团（一群海盗）。少将自然而然地扮演了“无情的父亲”的角色，辩称自己是一个孤儿，不能让女儿们走，因为她们是他唯一的快乐；但海盗最终暴露了他们的真实身份，即“低等伪装”的贵族，所以老士兵非常高兴地心软了。在HMS Pinafore中（1878）男主人公是一位卑微的海员，爱上了船长的女儿，女主人公，而女主人公也被浮夸、自负的约瑟夫爵士（“女王海军的统治者”）所追求。最终，人们发现英雄和队长在婴儿时期就被调换了，所以，极不可能的是，他们现在又调回来了。英雄成为船长，船长成为卑微的水手。显然第一海军大臣不可能娶一个区区水手的女儿，男女主角终于可以团圆了。
These conventions were even more obviously caricatured in the contemporary British equivalents of Viennese operetta, the ‘comic operas’ of Gilbert and Sullivan. In The Pirates of Penzance (1880), for instance, the entire female chorus, the daughters of a major-general, fall in love with the male chorus, a gang of pirates. The major-general not unnaturally assumes the role of ‘unrelenting father’, pleading that he is an orphan and cannot let his daughters go, since they are the only joy left to him; but the pirates eventually emerge in their true identity as noblemen in ‘inferior disguise’, so the old soldier is only too happy to relent. In HMS Pinafore (1878) the hero, a humble seaman, falls in love with his captain’s daughter, the heroine, who is also being wooed by the pompous, self-important Sir Joseph, ‘ruler of the Queen’s navee’. Eventually it is revealed that the hero and the captain had been switched as babies, so, highly improbably, they are now switched back again. The hero becomes a captain and the captain a humble seaman. Obviously the First Lord of the Admiralty cannot marry a mere seaman’s daughter, so hero and heroine can at last be united.
这种滑稽的喜剧情节被带到了非音乐舞台，出现在奥斯卡·王尔德的戏剧中。认真的重要性（1895）向我们展示了两位英雄，杰克和阿尔杰农，一对富有而单身的上流社会年轻人。杰克出于某种原因来到伦敦时自称欧内斯特，他希望与美丽的格温多琳结婚。但他们的道路上有一个巨大的障碍，那就是她可怕的母亲布拉克内尔夫人，她作为“无情的父母”，拒绝允许这桩婚事。随后，阿尔吉农发现他的朋友杰克正在充当一个漂亮的小受监护人塞西莉的监护人，塞西莉在乡下安静地生活，他立即赶去结识她，冒充杰克的虚构兄弟“欧内斯特”。可以预见的结果是，两对年轻夫妇很快就无可救药地相爱了（尽管，通常令人难以置信的是，两位女主人公各自希望嫁给自己的男人，只是因为她们误以为他叫欧内斯特）。布拉克内尔夫人禁止格温多琳嫁给杰克，因为他不知道自己的父母是谁（他被发现时是一个被遗弃在手提包里的婴儿）。因此，为了报复，杰克反过来扮演了“无情的父母”的角色，禁止他的受监护人向阿尔吉农求婚。塞西莉的家庭教师普莉丝姆小姐的到来，无意间揭露了杰克的真实身份，这一双重僵局终于得到解决。他实际上是阿尔杰农的哥哥，他在婴儿时期就失踪了，当时他的保姆棱镜小姐把他与一本三卷本小说的手稿混淆了，并把他留在了伦敦干线火车站的包裹办公室里。从一本参考书中得知，他的真名一直是欧内斯特。以这种甚至不具有象征意义的方式，
This burlesquing of the Comedy plot was carried over to the non-musical stage in plays such as those of Oscar Wilde. The Importance of Being Earnest (1895) shows us two heroes, Jack and Algernon, a pair of rich and single upper-class young men. Jack, who when he is in London for some reason unexplained calls himself Ernest, wishes to marry the beautiful Gwendolen. But there is a formidable obstacle in their way in the shape of her fearsome mother Lady Bracknell who, as ‘unrelenting parent’, is refusing to allow the match. Algernon then discovers that his friend Jack is acting as guardian to a pretty little ward, Cecily, who lives quietly in the country, and at once hurries down to make her acquaintance, passing himself off as Jack’s fictitious brother ‘Ernest’. The predictable result is that both young couples are soon hopelessly in love (although, typically implausibly, the two heroines each wish to marry their man only because they are under the false impression that he is called Ernest). Lady Bracknell is forbidding Gwendolen to marry Jack, because he does not know who his parents were (he had been found as a baby abandoned in a handbag). Jack, in revenge, therefore assumes the role of ‘unrelenting parent’ in turn, by forbidding his ward’s proposed marriage to Algernon. This double impasse is finally resolved thanks to the arrival of Cecily’s governess Miss Prism, who inadvertently reveals Jack’s true identity. He is in fact Algernon’s elder brother, who had been lost as a baby when Miss Prism, as his nanny, had confused him with the manuscript of a three-volume novel and left him in the parcels office of a mainline London railway station. His true name, it then emerges from a reference book, has been Ernest all along. In this not even symbolically plausible fashion, all obstacles in the way of the two couples being united have been removed (except that Cecily never explains why she is prepared to overlook her previous insistence that she could only marry a man called Ernest).
二十世纪的鸿沟
The twentieth-century divide
如果严肃性的核心已经开始从喜剧中消失，那么在二十世纪发生的事情——当时情节继续以多种不同的形式广受欢迎——喜剧几乎倾向于发展成两种不同类型的故事。一方面是对爱情优先的情节的表达，通常没有特别的幽默。另一类则集中于幽默，或者我们所说的“喜剧”元素，而爱情兴趣要么被降到次要地位，要么被完全消除。
If the core of seriousness had already begun to drop out of Comedy, what happened in the twentieth century – when the plot continued to enjoy enormous popularity in many different forms – was that Comedy tended to develop almost into two different types of story. On one hand were those expressions of the plot where the love interest took precedence, often without particular humour. On the other were those which concentrated on the humour, or as we say the ‘comic’ element, with the love interest either relegated to a subordinate place, or eliminated altogether.
第一种故事以爱情为主导，在多愁善感的故乡好莱坞特别受欢迎。一个早期的例子是《酋长》，其中以无声银幕中的万人迷鲁道夫·瓦伦蒂诺为主角。（1921），改编自两年前由德比郡养猪户的妻子伊迪丝·赫尔在英国出版的小说。英国女主人公乔装参加阿拉伯节日，结果被阿拉伯酋长（瓦伦蒂诺饰）抓获，陷入了“低等境界”。她开始偷偷地爱上了俘虏她的人，但随后却被一个真正的“黑暗”人物——一个邪恶的土匪头子——俘虏了。她被勇敢的酋长救起，当他发现他实际上是一位乔装的欧洲贵族，在他的父母在沙漠中被杀后被阿拉伯人收养时，一切都解决了。他的真实身份被揭露，表明他在种族上并不“低等”，这对恩爱夫妻可以幸福地回到欧洲的“上层世界”结婚。
Stories of the first kind, where the love interest predominates, became particularly popular in that home of sentimentality, Hollywood. An early example, featuring the leading hearthrob of the silent screen Rudolph Valentino, was The Sheikh (1921), based on a novel published in England two years earlier by Edith Hull, the wife of a Derbyshire pig farmer. The English heroine is shown falling into an ‘inferior realm’ when she visits an Arab festival in disguise and is captured by an Arab sheikh (played by Valentino). She secretly begins to fall in love with her captor, but is then captured by a genuinely ‘dark’ figure, a villainous bandit chief. She is rescued by her gallant sheikh and all is resolved when he turns out to be really a European nobleman in disguise, adopted by Arabs when his parents had been killed in the desert. His true identity revealed, showing him not be racially ‘inferior’ after all, the loving couple can happily return to the ‘upper world’ of Europe to be married.
在这部二十世纪美国舞台和电影音乐剧“轻歌剧”传统的继承者中，喜剧的爱情方面也脱颖而出。罗杰斯和汉默斯坦的南太平洋例如，（1949）是一个几乎完全直白而感伤的爱情故事。女主人公是一名美国海军护士，第二次世界大战期间到达太平洋的一个岛屿，在那里她爱上了一位法国种植园主。但他与一位现已去世的波利尼西亚妇女生了两个孩子。由于这种所谓的“低等”种族联系，女主人公不愿意嫁给他。但由于他对这些岛屿的深入了解，这位种植者现在被美国陆军招募，在军事行动中发挥关键作用。当他被偷渡到日本占领的岛屿上监视敌人的军事行动时，他被证明是一位勇敢的英雄。女主角终于看到了他作为一个真正男人的真实面目，不再“低人一等”，2
The love aspect of Comedy also came to the fore in that twentieth-century successor to the tradition of ‘light opera’, the American stage and film musical. Rogers and Hammerstein’s South Pacific (1949), for instance, was an almost entirely straight and sentimental love story. The heroine, an American naval nurse, arrives during the Second World War on a Pacific island, where she falls in love with a French planter. But he has had two children by a Polynesian woman, now dead; and because of this supposedly ‘inferior’ racial link, the heroine is reluctant to marry him. But thanks to his intimate knowledge of the islands, the planter is now recruited by the US Army to play a key part in a military operation. When he is smuggled onto a Japanese-occupied island to spy on enemy military movements, he is revealed to be a brave hero. The heroine at last sees him in his true light as a real man, no longer ‘inferior’, and the story ends with her assuming the role of mother to his half-Polynesian children as the couple look forward to their marriage.2
在弗兰克·洛瑟的《红男绿女》中，我们看到了“下层”和“上层”世界之间对比的更明显的滑稽版本。（1953），以纽约赌博兄弟会的黑社会为背景。内森·底特律急需钱来租用场地进行非法双骰游戏，因为城里有几个大赌徒，其中包括英雄斯凯·马斯特森。马斯特森漫不经心地夸口说，在纽约，没有一个女人是他说服不了的，陪他去哈瓦那，在卡斯特罗之前的日子里，哈瓦那被称为道德上不受约束的“欢乐之城”，纽约人可以在那里尽情放松。底特律将这一夸耀作为赌注的基础。他指出了他能想象到的最不可能的女人，萨拉修女，她是当地拯救灵魂使命的漂亮但拘谨的年轻组织者（因此，相对而言，因为她是如此道德和拘谨，是一个“高于界限”特点）。马斯特森向她提议，
We see a rather more obviously burlesqued version of the contrast between a ‘lower’ and ‘upper’ world in Frank Loesser’s Guys and Dolls (1953), set in the underworld of New York’s gambling fraternity. Nathan Detroit is desperate for money to rent a venue for an illegal crap game, because several big gamblers are in town, including the hero, Sky Masterson. Masterson casually boasts that there is not a woman in New York he could not persuade to accompany him to Havana, known in those pre-Castro days as the morally unconstrained ‘fun city’ where New Yorkers could let their hair down. Detroit makes this boast the basis of a wager. He points to the most unlikely woman he can imagine, Sister Sarah, the pretty but prim young organiser of the local Save-A-Soul Mission (in relative terms, therefore, since she is so moral and straitlaced, an ‘above the line’ character). Masterson propositions her, promising to produce ‘twelve genuine sinners’ at her next meeting if she will come to Havana with him, but she merely slaps his face in disgust.
然而，随后，可怕的卡特赖特将军从总部赶来，威胁要关闭任务，除非莎拉的下一次会议上挤满了悔改的罪人。因此，女主人公接受了马斯特森的讨价还价，同意陪他去哈瓦那的“下等王国”，在那里她在夜总会喝醉了，并承认她爱他。她回到纽约，展现出她拘谨的“上流”形象，对她失宠感到震惊。但马斯特森信守了自己的诺言。她的下一次会议挤满了看似“悔改”的赌徒，卡特赖特将军印象深刻，任务得以挽救。但女主人公现在惊恐地发现，马斯特森带她去哈瓦那只是为了打赌。然而，当故事进入高潮时，她进一步发现，他一直在告诉所有人他赌输了，而且终究没能说服她陪他去哈瓦那。他对她名誉的关心让她非常感动，她冲出去为自己的误判道歉。他们认识到了彼此的爱，故事以他们的婚礼结束，尽管令人难以置信，但还是幸福的。
Then, however, the fearsomely dragonish General Cartwright arrives from headquarters, threatening to close down the mission unless Sarah’s next meeting is packed with repentant sinners. The heroine therefore accepts Masterson’s bargain and agrees to accompany him to the ‘inferior realm’ of Havana, where she gets drunk in a nightclub and confesses that she loves him. She returns to New York and her straitlaced ‘above the line’ persona, appalled at her fall from grace. But Masterson keeps his side of the bargain. Her next meeting is packed with seemingly ‘repentant’ gamblers, General Cartwright is impressed and the mission is saved. But the heroine now learns to her horror that Masterson had only taken her to Havana for a wager. As the story moves to its climax, however, she then further discovers he has been telling everyone that he had lost his bet, and had not been able to persuade her to accompany him to Havana after all. She is so touched by his concern for her reputation that she rushes out to apologise for having misjudged him. They recognise their love for each other and the story ends, happily if implausibly, with their wedding.
无论这些故事中的爱情元素多么不可能、多么轻率，它至少提供了故事的主线。但接下来我们会看到喜剧情节的另一种现代派生，在这种故事类型中，幽默占主导地位，爱情兴趣只扮演一个相当尴尬的配角，如果它能幸存下来的话。
However improbable and lightly treated the love element may be in such stories, it does at least provide the dominant thread of the tale. But we then come to that other modern derivation of the Comedy plot, the type of story where it is the humour which dominates, with the love interest playing only a rather embarrassed supporting role, if it survives at all.
玩起来就是为了笑
Playing it for laughs
当我们在现代世界使用“喜剧”这个词时，我们通常指的只是一些我们想觉得有趣的东西。这样做可能看起来很奇怪很想了解喜剧让我们开怀大笑的原因，因为当然，引人发笑始终与喜剧密不可分，可以追溯到古希腊时代。只是在相对较近的时期，这种“喜剧”元素才作为一种可以被视为完全独立的东西而出现。但自阿里斯托芬以来，喜剧的本质就在于揭露可笑的自欺欺人的状态，这种状态影响着因自我中心而与周围人隔绝的人类。这本质上就是我们人类看待有趣事物的能力。幽默的主要功能是，它为我们提供了一种或多或少无害的方式来化解由自我中心造成的社会压力。这就是为什么任何类型的喜剧几乎总是以那些在某种程度上过于认真对待自己的人为中心，让我们其他人有机会看到这让他们看起来多么愚蠢。如果一个小老太太走在街上被香蕉皮绊倒，我们并不觉得这很有趣。令人产生同情心。如果同样的事情发生在一个自大自大的人身上，我们会觉得很滑稽，因为我们喜欢看到他的自尊泡沫被刺破。因此，几乎所有旨在让我们发笑的喜剧都集中在两者之间的对比上。某人在某种程度上被利己主义蒙蔽了双眼，而我们有能力从外部看到他看不到的东西，从而产生自私的错觉。当然，当我们自嘲时，我们也会这么做。让我们其他人有机会看看这让他们看起来多么愚蠢。如果一个小老太太走在街上被香蕉皮绊倒，我们并不觉得这很有趣。令人产生同情心。如果同样的事情发生在一个自大自大的人身上，我们会觉得很滑稽，因为我们喜欢看到他的自尊泡沫被刺破。因此，几乎所有旨在让我们发笑的喜剧都集中在两者之间的对比上。某人在某种程度上被利己主义蒙蔽了双眼，而我们有能力从外部看到他看不到的东西，从而产生自私的错觉。当然，当我们自嘲时，我们也会这么做。让我们其他人有机会看看这让他们看起来多么愚蠢。如果一个小老太太走在街上被香蕉皮绊倒，我们并不觉得这很有趣。令人产生同情心。如果同样的事情发生在一个自大自大的人身上，我们会觉得很滑稽，因为我们喜欢看到他的自尊泡沫被刺破。因此，几乎所有旨在让我们发笑的喜剧都集中在两者之间的对比上。某人在某种程度上被利己主义蒙蔽了双眼，而我们有能力从外部看到他看不到的东西，从而产生自私的错觉。当然，当我们自嘲时，我们也会这样做。如果同样的事情发生在一个自大自大的人身上，我们会觉得很滑稽，因为我们喜欢看到他的自尊泡沫被刺破。因此，几乎所有旨在让我们发笑的喜剧都集中在两者之间的对比上。某人在某种程度上被利己主义蒙蔽了双眼，而我们有能力从外部看到他看不到的东西，从而产生自私的错觉。当然，当我们自嘲时，我们也会这样做。如果同样的事情发生在一个自大自大的人身上，我们会觉得很滑稽，因为我们喜欢看到他的自尊泡沫被刺破。因此，几乎所有旨在让我们发笑的喜剧都集中在两者之间的对比上。某人在某种程度上被利己主义蒙蔽了双眼，而我们有能力从外部看到他看不到的东西，从而产生自私的错觉。当然，当我们自嘲时，我们也会这样做。
When we use the term ‘comedy’ in the modern world we usually mean no more than something we are intended to find funny. It might seem odd to have taken so long to get round to what it is about Comedy which makes us laugh, because of course provoking an audience to laughter has always been inseparable from Comedy, right back to the days of ancient Greece. Only in comparatively recent times has this ‘comic’ element emerged as something which can be looked on as wholly separate, in its own right. But ever since Aristophanes, the essence of Comedy has lain in exposing as ridiculous the state of self-delusion which affects human beings who have become isolated from those around them by their egocentricity. This is essentially what our human capacity for seeing something as funny is about. The chief function of humour is that it provides us with a more or less harmless way to defuse the social strains created by egotism. This is why comedy of any kind almost invariably centres on people who are in some way taking themselves too seriously, giving the rest of us the chance to see how foolish this makes them look. If a little old lady walking down the street trips up on a banana skin, we do not see this as funny. It arouses sympathy. If the same thing happens to a pompous man cocooned in self-importance we find it comical, precisely because we enjoy seeing his bubble of self-esteem being pricked, Almost all Comedy intended to make us laugh is thus centred on such a contrast between the self-regarding delusion of someone who is in some way blinded by egotism, and our capacity to see from outside what he is unable to see. We even do it, of course, when we laugh self-deprecatingly at ourselves.
对我们来说，没有什么比看到一个人想象他周围的世界组织有序并处于控制之下更有趣的了，而事实上我们可以看到事实并非如此。这就是为什么《音乐盒》（1931）的观众看到奥利弗·哈迪（Oliver Hardy）这个戴着圆顶硬礼帽的认真胖子试图与他倒霉的搭档斯坦·劳雷尔（Stan Laurel）一起研究如何将一架大钢琴移上一段台阶时感到很有趣。却发现它不断地从他们的掌握中溜走。这就是为什么 20 世纪 70 年代的英国电视观众看到约翰·克莱斯 (John Cleese) 在电视剧《福尔蒂塔》 ( Fawlty Towers)中饰演的巴兹尔·福尔蒂 (Basil Fawlty)拼命保护自己的形象时，会大笑。作为一个冷静高效的酒店老板，他要说服他的客人一切都井然有序，而在幕后，很明显他的酒店的所有安排都陷入了混乱。同样的基本笑话启发了格劳乔·马克思在《卡萨布兰卡的一夜》中扮演酒店经理的角色。在 20 世纪 80 年代，吉姆·哈克 (Jim Hacker) 和汉弗莱·阿普尔比爵士 (Sir Humphrey Appleby) 在《是的部长》中展开无情的竞争游戏，本质上是同一个笑话。，由安东尼·杰伊和乔纳森·林恩编剧的英国电视剧。野心勃勃的政客和狡猾的公务员都在外表文明的面具下追求自己的议程，并假装他们唯一关心的是公共利益。我们看到，在表面之下，这位虚荣、容易上当受骗的部长实际上是受到以自我为中心的盘算所驱使，盘算着他如何才能赢得媒体和同事的喝彩或避免批评。这位表面上恭顺的官员暗地里试图操纵和战胜他所谓的主人，以促进他作为部门负责人的自身利益。让我们发笑的是，我们观众被允许看到两面，自欺欺人和现实。我们总能准确地看到两个人各自角色背后发生的事情，因为每一集都会产生一些可能会给部长、公务员或两者带来最大尴尬的情况。我们也知道，最终，在紧要关头，某种形式的“认可”将会发生，让面子得以挽回，让每个人都有幸福的结局。
Nothing seems funnier to us than the sight of someone imagining that he has the world around him organised and under control, when in fact we can see that it is nothing of the kind. This was why audiences for The Music Box (1931) found it funny to see Oliver Hardy, the earnest fat man in a bowler hat, trying to work out with his hapless partner Stan Laurel how to move a grand piano up a flight of steps, only to see it constantly slipping out of their grasp. This was why British television audiences in the 1970s laughed at the sight of Basil Fawlty, played by John Cleese in the series Fawlty Towers, desperately trying to preserve his persona as a coolly efficient hotel proprietor and to persuade his guests that everything is in perfect order, while behind the scenes it is only too obvious that all his establishment’s arrangements are sliding into chaos. The same basic joke inspired Groucho Marx’s role as a hotel manager in A Night in Casablanca. In the 1980s it was essentially the same joke which underlay the spectacle of Jim Hacker and Sir Humphrey Appleby engaging in their game of ruthless rivalry in Yes Minister, the British television series written by Antony Jay and Jonathan Lynn. The ambitious politician and the devious civil servant are each pursuing their own agenda behind an outward mask of civility and the pretence that their only concern is the public good. We see how, beneath the surface, the vain, gullible minister is really driven by egocentric calculations of how he might win plaudits or avoid criticism from the media and his colleagues. The outwardly deferential official is secretly trying to manipulate and outmanoeuvre his supposed master, to promote his own interests as head of his department. What makes us laugh is that we the audience are allowed to see both sides, self-delusion and reality. We can always see exactly what is going on behind the two men’s respective personas, as each episode builds up some situation which promises to create maximum embarrassment for minister, civil servant or both. We also know that eventually, in the nick of time, some form of ‘recognition’ will take place, allowing face to be saved and everyone to end happily.
事实上，在这些主要只是为了让我们发笑的现代喜剧的表面之下，令人惊讶的是，它们仍然受到数千年前喜剧情节的基本情景和规则的影响，就像劳雷和哈代创作时那样。他们最著名的电影之一《我们的关系》讲述了公元前三世纪写于罗马的喜剧情节。唯一真正的区别在于，在多大程度上强调“喜剧”元素，而牺牲了底层故事的其余部分。例如，一部典型的马克思兄弟电影，当时他们在 1930 年代和 1940 年代声名鼎盛，展示了一群人一起工作（马戏团、疗养院、百货商店、酒店），其未来是受到一个强大的黑暗人物的威胁，他与他的亲信密谋进行一些邪恶的政变。如果恶行得逞，这会给所有那些受到灾难威胁的人蒙上阴影。其中总是包括一对想要结婚的年轻恋人，用传统的喜剧术语来说，他们实际上是故事的男女主角。但我们的主要注意力不可避免地集中在三位明星本身的愚弄和俏皮话上。格劳乔通常会冒充一些自命不凡的人物（例如医生、律师或酒店经理）。奇科和哈波毫不掩饰地扮演“低等”的下层人物。他们最终成功地智胜了“黑暗”人物并拯救了世界，通常是花一些时间伪装或假装身份。当然，这为故事提供了典型的结局，最终为年轻恋人的结婚铺平了道路。
Indeed, beneath the surface of these modern comedies which are primarily intended just to make us laugh, it is striking how far they are still shaped by those basic situations and rules of the Comedy plot going back thousands of years, as when Laurel and Hardy based one of their best-known films Our Relations on the plot of a comedy written in Rome in the third century BC. The only real difference lies in the extent to which the emphasis is placed on the ‘comic’ element at the expense of the rest of the underlying story. For instance, a typical Marx Brothers film when they were at the height of their fame in the 1930s and 1940s showed a little community of people working together (a circus, a sanitarium, a department store, a hotel), the future of which is threatened by a powerful dark figure engaged with his cronies in a conspiracy to pull off some villainous coup. This casts a shadow over all those threatened with disaster if the villainy succeeds. These invariably include a pair of young lovers wanting to get married who, in traditional Comedy terms, are technically the hero and heroine of the story. But our main attention is inevitably reserved for the fooling and wisecracking of the three stars themselves. Groucho is usually passing himself off raffishly as some figure with vaguely superior pretensions (such as a doctor, lawyer or hotel manager). Chico and Harpo play unashamedly ‘inferior’ lower-class characters. Between them they eventually manage, usually by spending some time in disguise or under assumed identities, to outwit the ‘dark’ figures and save the day. And this, of course, to provide the story with its archetypal ending, finally paves the way for the young lovers to get married.
这个情节出现在马克思兄弟最受欢迎的电影《歌剧院之夜》中，略有不同（1935）。格劳乔饰演据说人脉广泛的奥蒂斯·B·德里夫特伍德，他正试图让富有且容易上当的老妇人克莱普尔夫人（玛格丽特·杜蒙特饰演）融入社会。经营纽约歌剧院的雄心勃勃的赫尔曼·戈特利布（Hermann Gottlieb）贪图她的钱，建议如果她每晚支付 1000 美元，他们就可以聘请世界上最伟大的男高音鲁道夫·拉斯帕里（Rodolphe Laspari）。格劳乔远赴欧洲聘请他，而拉斯帕里却成了故事中的主要黑暗人物：傲慢、粗鲁、居高临下。他们乘坐豪华客轮前往纽约，同行的还有拉斯帕里的女主角罗莎；而在甲板下的“下层王国”里，奇科、哈波和英雄里卡多（也是一位男高音）以偷渡者的身份，罗莎爱上了他。偷渡者通过留着胡须伪装成“英勇的外国飞行员”设法着陆，然后躲藏起来。排练开始后，罗莎因未能在舞台上回应拉斯帕里而被解雇，因为他傲慢且令人不快。兄弟俩计划确保歌剧的第一个夜晚是一团糟，因为他们在幕后安排了几部不同歌剧的场景以令人眼花缭乱的方式快速出现和消失。拉斯帕里被嘘声赶下了舞台，戈特利布也陷入了束手无策的境地。直到里卡多和罗莎从阴影中出现，像天使一样歌唱并拯救世界。他们的表演广受好评。他们被雇用并可以结婚。因为在幕后，他们安排了几部不同歌剧的布景以令人眼花缭乱的方式快速地断断续续。拉斯帕里被嘘声赶下了舞台，戈特利布也陷入了束手无策的境地。直到里卡多和罗莎从阴影中出现，像天使一样歌唱并拯救世界。他们的表演广受好评。他们被雇用并可以结婚。因为在幕后，他们安排了几部不同歌剧的布景以令人眼花缭乱的方式快速地断断续续。拉斯帕里被嘘声赶下了舞台，戈特利布也陷入了束手无策的境地。直到里卡多和罗莎从阴影中出现，像天使一样歌唱并拯救世界。他们的表演广受好评。他们被雇用并可以结婚。
This plot appeared, with slight variation, in the most popular of the Marx Brothers films, A Night at The Opera (1935). Groucho, as the supposedly well-connected Otis B. Driftwood, is trying to get the rich and gullible older woman Mrs Claypool (played by Margaret Dumont) into society. The ambitious Hermann Gottlieb who runs the New York Opera Company, greedy for her money, suggests that if she would pay 1000 dollars a night, they could hire the world’s greatest tenor, Rodolphe Laspari. Groucho goes over to Europe to hire him, and Laspari turns out to be the chief dark figure of the story: arrogant, rude and condescending. They sail for New York on a luxury liner, with Laspari’s leading lady, the heroine Rosa; while in an ‘inferior realm’ below decks as stowaways are Chico, Harpo and the hero Ricardo, also a tenor, with whom Rosa is in love. The stowaways manage to land by disguising themselves in beards as ‘heroic foreign aviators’, then go into hiding. When rehearsals begin Rosa is sacked, for failing to respond on stage to Laspari because he is so arrogant and unpleasant. The brothers scheme to ensure that the opera’s first night is a shambles, as from behind the scenes they arrange that the scenery from several different operas should whizz on and off in bewildering array. Laspari is booed off the stage and Gottlieb is at his wits end; until Ricardo and Rosa emerge from the shadows to sing like angels and save the day. Their performance is wildly acclaimed. They are hired and can get married.
在二十世纪其他著名的喜剧传统手段中，爱情兴趣往往扮演着类似的从属角色，PG 沃德豪斯（PG Wodehouse）的小说（他年轻时还写过一些美国音乐剧）。尽管如此，它通常仍然在塑造情节方面发挥着至关重要的作用，例如《Leave it to Psmith》（1923）。英雄爱上了一个女孩，她刚刚找到一份为埃姆斯沃斯伯爵所在地布兰丁斯城堡图书馆编目的工作。通过不可思议地将自己伪装成加拿大诗人，他本人赢得了住在城堡的邀请。故事的大部分乐趣和游戏都集中在两人如何智胜一对倒霉的乔装国际珠宝窃贼，他们试图偷走康斯坦斯夫人的钻石项链。在一系列完全熟悉的喜剧场景结束时，黑暗人物已经暴露，所有丢失的物品都已找到（包括被盗的项链和高贵伯爵的眼镜），英雄以他的真实身份重新出现，以索取女主角。但不能说爱情除了为滑稽的闹剧提供主题之外还有任何真正的目的；对于大多数涉及傻蛋伯蒂·伍斯特和他的管家吉夫斯的故事来说更是如此，而阿加莎姨妈像布拉克内尔夫人一样总是在背景中不以为然地徘徊。
The love interest tended to play a similarly subordinate role in that other celebrated twentieth-century vehicle for so many of the traditional devices of Comedy, the novels of P. G. Wodehouse (who also, in his youth, wrote a number of American musicals). Nevertheless it is still usually there to play a crucial role in shaping the plot, as in Leave it to Psmith (1923). The hero has fallen in love with a girl who has just got a job cataloguing the library at Blandings Castle, the seat of the Earl of Emsworth. By improbably disguising himself as a Canadian poet, he himself wins an invitation to stay at the castle. Most of the fun-and games of the story then centres on the way the pair manage to outwit a hapless pair of disguised international jewel thieves who are trying to steal Lady Constance’s diamond necklace. By the end of a sequence of entirely familiar Comedy situations, the dark figures have been exposed, all lost objects have been found (including the stolen necklace and the noble Earl’s glasses) and the hero has re-emerged in his true identity to claim the heroine. But it cannot be said that the love interest serves any real purpose other than to lend theme to a hilarious farce; and this is even truer of most of the tales involving the silly-ass Bertie Wooster and his butler Jeeves, with the Lady Bracknell-like figure of Aunt Agatha invariably hovering disapprovingly in the background.
在英语世界，吉夫斯已成为喜剧史上最著名的仆人。他的角色是一个大家都熟悉的社会“低等”人物，最终拯救了困扰“上层世界”的混乱。在《无与伦比的吉夫斯》中（1924），伍斯特的朋友宾戈·利特尔（Bingo Little）的弱点是不断陷入浪漫的爱情，却对一个不起眼的茶馆女服务员产生了压倒性的热情。和往常一样，他立刻就想娶她。但其中的障碍是他富有而古板的叔叔，宾果的零用钱的来源，他肯定会反对这种不适合社会的匹配，扮演“无情的父母”的角色，从而剥夺了宾果唯一的收入来源。吉夫斯制定了一个计划，宾戈将向他的叔叔介绍一位名叫罗西·M·班克斯的女作家的作品，她专门研究出身卑微的女孩嫁给地位较高的男人的浪漫爱情故事。就像吉夫斯的大多数计划一样，它的效果就像一种享受，甚至到了伯蒂被派去为宾戈辩护的结婚理由，令人难以置信地模仿罗西·M·吉夫斯。班克斯（宾果向他叔叔解释说，伍斯特用笔名写了他非常欣赏的小说）。叔叔成功地接受了上层阶级男人应该娶下层阶级女孩的观点，以至于他自己向他的厨师求婚。但可惜的是，这一切都是徒劳的，因为女服务员现在取消了与宾果的风流韵事。
In the English-speaking world Jeeves has become the most famous servant in the history of Comedy. His role is the entirely familiar one of the socially ‘inferior’ figure who eventually redeems the disorder which is afflicting the ‘upper world’. In The Inimitable Jeeves (1924), Wooster’s friend Bingo Little, whose weakness is constantly falling romantically in love, develops an overwhelming passion for a humble teashop waitress. As usual, he immediately wishes to marry her; but the obstacle in the way is his rich and stuffy uncle, the source of Bingo’s allowance, who will certainly oppose such a socially unsuitable match in the role of ‘unrelenting parent’ and thus deny Bingo his only means of income. Jeeves conceives a plan whereby Bingo will introduce his uncle to the works of an authoress named Rosie M. Banks, who specialises in sentimental romances in which girls of lowly origin marry men of superior station. Like most of Jeeves’s schemes, it works like a treat, even to the point where Bertie is sent round to plead Bingo’s case for getting married, implausibly impersonating Rosie M. Banks (Bingo has explained to his uncle that Wooster writes the novels he so admires under a pseudonym). So successfully is the uncle won over to the view that upper-class men should marry lower-class girls that he himself then proposes marriage to his cook. But all, alas, in vain because the waitress has now called off her affair with Bingo.
接下来，我们将追随宾果更多不幸的爱情故事，包括另一次进入“低等境界”的旅程，他将自己伪装成一个留着胡须的革命者，以吸引一个小革命派别领导人的女儿夏洛特·科黛·罗博瑟姆。就在他对现已晋升贵族年龄的叔叔进行了一系列革命性辱骂之后，他最终被揭开面具，胡须被扯掉，这自然导致他的津贴最终被切断。当宾果爱上另一位女服务员并与她结婚时，故事达到了高潮。伯蒂再次被派去冒充罗西·M·班克斯为他的案件辩护，叔叔的态度也软化了，接待了宾果和他的女服务员，祝福他们的婚姻。但后来发现，女服务员本人正是真正的罗西·M·班克斯，为另一部小说收集素材（女主角从“低等伪装”中脱颖而出，以“上层世界”角色的真实身份）。吉夫斯灵巧的脚步，传达了伯蒂是个疯子，误导所有人以为他是罗西·M·班克斯的信息，才挽救了局面，宾果的叔叔更新了他的津贴（而伍斯特，作为暴露的“黑暗”人物，谨慎地离开舞台）。
We then follow more of Bingo’s ill-fated romances, including another journey into an ‘inferior realm’ where he disguises himself as a bearded revolutionary in order to woo Charlotte Corday Rowbotham, the daughter of the leader of a tiny revolutionary sect. He is eventually unmasked and his beard ripped off, just after he has directed a blast of revolutionary abuse at his uncle, now raised to the peer-age, which not unnaturally leads to his allowance being finally cut off. The story comes to its climax when Bingo falls in love with yet another waitress and this time actually marries her. Bertie is again sent round to plead his case impersonating Rosie M. Banks, and the uncle is softened into receiving Bingo and his waitress to bless their marriage. But it then emerges that the waitress herself is none other than the real Rosie M. Banks, who had only adopted the disguise of a waitress to gather material for another novel (the heroine emerging from ‘inferior disguise’ in her true identity as an ‘upper world’ character). Only deft footwork by Jeeves, in conveying that Bertie is a lunatic who had misled everyone into thinking that he was Rosie M. Banks, saves the day so that Bingo’s uncle renews his allowance (while Wooster, as the exposed ‘dark’ figure, discreetly leaves the stage).
结婚、离婚、再婚
Married, divorced, remarried
当然，并非所有二十世纪的喜剧都反映了情节中浪漫元素和喜剧元素之间的这种分歧。仍然有许多喜剧将这两个部分交织在一起，例如斯坦利·多南的音乐剧《雨中曲》（1952）。故事发生在 1927 年的好莱坞，当时无声电影正在让位于“有声电影”（并使用最初在那个时期创作的歌曲，包括片名），故事以两位无声电影明星唐·洛克伍德（吉恩·凯利饰）和莉娜为中心。拉蒙特（让·哈根饰）。故事中的主要黑暗人物莉娜是一个肤浅、以自我为中心的怪物，她被好莱坞的梦幻世界所迷惑，以至于她相信他们在银幕上表现的浪漫关系应该延续到现实生活中。但唐遇见并爱上了一位年轻、严肃的女演员凯西（黛比·雷诺兹饰）。当制片厂决定必须将两位浪漫的明星放到一部有声电影中时，情节的关键就出现了。莉娜的声音刺耳，无法唱歌和痛苦的布朗克斯口音可能会带来灾难，直到唐的歌舞搭档科斯莫·布朗（唐纳德·奥康纳饰）想出了一个聪明的主意，让凯西在屏幕上为莉娜配音。正是英雄对这个提议的欢乐回应，促使凯利跳起了著名的踢踏舞来配合主打歌（最初是为1929 年的好莱坞滑稽剧），这可能已成为电影史上最著名的片段。多亏了凯西的声音，第一部“洛克伍德-拉蒙特音乐剧”取得了胜利，狡猾的莉娜试图勒索工作室，让凯西匿名留在阴影中，作为她秘密的“银幕声音”。但当她鲁莽地出现在拥挤的现场剧院观众面前唱歌时，她就有暴露的危险，直到科斯莫将凯西放在幕布后面为莉娜提供歌声。观众被愚弄了，直到在关键时刻拉开帷幕，揭露到底发生了什么（亚里士多德式的不可知论的完美例子））。受到羞辱的莉娜以“不甘心的黑暗人物”的身份逃离了舞台。凯西，“默默无闻的女英雄”，从阴影中脱颖而出，成为真正的明星。故事以男女主人公在广告牌前相拥而告终，这是他们第一部电影的广告。3
Of course not all twentieth-century Comedy reflected this split between the romantic and comic elements in the plot. There continued to be many comedies where the two components were still woven together, as in Stanley Donen’s musical Singin’ in the Rain (1952). Set in Hollywood in 1927, when silent movies were giving way to the ‘talkies’ (and using songs, including the title number, originally written in that period), the story centres on two silent stars, Don Lockwood (Gene Kelly) and Lina Lamont (Jean Hagen). Lina, the chief dark figure of the story, is a shallow, self-centred monster, so deluded by the dream-world of Hollywood that she believes the romantic relationship they act out on the screen is meant to carry over into real life. But Don meets and falls in love with a young, serious actress, Kathy (Debbie Reynolds). The hinge of the plot comes when the studio decides it has to put its two romantic stars into a talking-picture. Lina’s grating voice, inability to sing and painful Bronx accent threaten disaster until Don’s song-and-dance partner Cosmo Brown (Donald O’Connor) has the clever idea of using Kathy to dub Lina’s voice on-screen. It is the hero’s joyous response to this proposal which prompts Kelly’s famous tap-dance to the title song (originally written for The Hollywood Revue in 1929), which has become probably the best-known sequence in the history of the cinema. Thanks to Kathy’s voice, the first ‘Lockwood-Lamont musical’ is a triumph, and the crafty Lina tries to blackmail the studio into keeping Kathy on anonymously in the shadows, as her secret ‘screen voice’. But when she recklessly appears to sing before a packed live theatre audience she is in danger of being exposed, until Cosmo places Kathy behind a curtain to supply Lina’s singing voice. The audience is fooled until, at a crucial moment, the curtain is drawn to reveal what is really going on (a perfect example of Aristotelian anagnorisis). The humiliated Lina flees the stage as ‘unreconciled dark figure’. Kathy, the ‘obscured heroine’, emerges from the shadows as the real star. And the story ends with hero and heroine in loving embrace, in front of a billboard advertising their first film together.3
然而，七年后，好莱坞在比利·怀尔德的《热情似火》（1959）中制作了也许是最著名的喜剧情节范例。托尼·柯蒂斯 (Tony Curtis) 和杰克·莱蒙 (Jack Lemmon) 饰演 1920 年代芝加哥的两名舞蹈音乐家，他们无意中目睹了情人节大屠杀，犯罪团伙的成员被他们的机关枪扫射。竞争对手。意识到谋杀团伙将无情地追捕他们并消灭他们，两人伪装成女性舞蹈音乐家达芙妮和约瑟芬，并加入了前往佛罗里达的全女子乐队。在这里，柯蒂斯再次将自己伪装成男人，假扮成百万富翁，以吸引最漂亮的女音乐家（玛丽莲·梦露饰）。莱蒙反过来又以女性形象受到一位真正但上了年纪的百万富翁奥斯古德·E·菲尔丁三世的追求，奥斯古德·E·菲尔丁三世对此非常着迷，以至于在电影结束时向他求婚。莱蒙试图用一个又一个借口来解释这是完全不可能的，最后他摘下了假发，表明自己是一个男人。即使这并不能阻止溺爱的追求者，他只是回答“好吧，没有人是完美的”。
Seven years later, however, Hollywood produced perhaps its most celebrated example of the sending-up of the Comedy plot in Billy Wilder’s Some Like it Hot (1959). Tony Curtis and Jack Lemmon play two dance musicians in the Chicago of the 1920s who unwittingly find themselves witnessing the St Valentine’s Day massacre, in which the members of a criminal gang are machine-gunned by their rivals. Realising that the murder gang will ruthlessly track them down to eliminate them, the pair disguise themselves as female dance musicians, Daphne and Josephine, and join an all-girl band heading for Florida. Here Curtis disguises himself back again as a man, posing as a millionaire in order to woo the prettiest of the girl musicians (Marilyn Monroe). Lemmon is in turn wooed in his female guise by a genuine but aged millionaire, Osgood E. Fielding III, who is so enamoured that, as the film ends, he proposes marriage. Trying one excuse after another to explain how this is totally out of the question, Lemmon finally pulls off his wig to reveal that he is a man. Even this does not deter the doting suitor, who merely replies ‘well, nobody’s perfect’.
在本书的后面，我们将考虑为什么喜剧情节会以这种方式如此广泛地滑稽（在其他基本情节的命运中可以看到平行的发展）。但是，考虑到现代喜剧结尾时所有这些极不可能的婚姻和结合，二十世纪可以说扩展了传统喜剧情节范围的唯一方式就是这种类型，这也许并不奇怪。男女主角不仅在故事开始前就结婚了，而且还离婚了。情节的有趣之处就在于看看他们最终如何再次走到一起再婚。
Later in the book we shall consider just why the Comedy plot should have come to be so widely burlesqued in this way (a parallel development can be seen in the fate of the other basic plots). But in view of all these highly improbable marriages and unions at the end of modern comedies, it is perhaps hardly surprising that the only way in which the twentieth century could be claimed to have extended the range of the traditional Comedy plot was in the type of story where the hero and heroine have not only been married before the story opens, but also divorced. The interest of the plot then lies in seeing how they are eventually brought together again to remarry.
这种故事的最早例子是诺埃尔·考沃德的戏剧《私人生活》( Private Lives，1933) ，在当时被认为是非常大胆的。女主角与第二任丈夫去度蜜月，却发现酒店的隔壁房间住着她的第一任丈夫，正在与新婚妻子度蜜月。陷入这种尴尬的境地，女主角和她的第一任丈夫逐渐发现他们仍然爱着对方而不是新的伴侣，最终他们团聚了。
The earliest instance of such a story, regarded in its time as highly daring, was Noel Coward’s play Private Lives (1933). The heroine goes off on honeymoon with her second husband, only to find that the next room in their hotel is occupied by her first husband, on honeymoon with his new wife. Plunged into this embarrassing situation, the heroine and her first husband gradually discover that they still love each other rather than their new partners, and by the end they are reunited.
这种情节扭曲的另一个例子是《费城故事》（1940），最初是为好莱坞创作的一部浪漫喜剧，后来改编成更为知名的电影音乐剧《上流社会》（1956）。我们在女主人公特蕾西·洛德（凯瑟琳·赫本/格蕾丝·凯利饰）家里见到了她，她是一位富有、美丽、性冷淡的社交女孩，在她家的大房子里（最初在费城，音乐剧版本在长岛纽波特）。与第一任丈夫德克斯特·哈文离婚后，她正在为第二天与她生命中的新男人——一位雄心勃勃的暴发户——的婚礼做准备。当轻松而和蔼可亲的德克斯特（加里·格兰特 / 平·克罗斯比饰）走进来，戏谑地提醒她他们还相爱时的幸福浪漫时光时，这开始在她的心中播下痛苦的疑虑。他告诉她，她接受新未婚夫的唯一原因是他把她当作神坛上的女神一样对待，而她渴望被崇拜的愿望是她最大的弱点。在奢华的婚宴前夕，特蕾西喝醉了，鲁莽地四处游荡，去享受与一位英俊、粗俗的新闻记者（詹姆斯·斯图尔特/弗兰克·西纳特拉饰）的风流韵事，而这位记者被派去报道这一事件，以制作一份粗俗的八卦新闻。这种堕入“低等境界”的经历让她摆脱了冰冷的冷漠，并把她解放出来，成为一个不同的女人：结果是她和她古板的未婚夫发生了激烈的争吵。一群时尚宾客已经聚集在一起参加婚礼，风琴也准备好演奏《新娘来了》，她决定取消婚礼。她很紧张 并将她解放出来，让她成为一个不同的女人：结果她和她古板的未婚夫发生了激烈的争吵。一群时尚宾客已经聚集在一起参加婚礼，风琴也准备好演奏《新娘来了》，她决定取消婚礼。她很紧张 并将她解放出来，让她成为一个不同的女人：结果她和她古板的未婚夫发生了激烈的争吵。一群时尚宾客已经聚集在一起参加婚礼，风琴也准备好演奏《新娘来了》，她决定取消婚礼。她很紧张站在门口，想知道如何向客人解释这件事，这时德克斯特出现在她的肩膀上，意识到女神已经从她的神座上走下来，变成了一个更温暖、更柔软、更有女人味的女孩，他一直知道她有能力去实现。是。他低声对她说要说的话，当她尽职尽责地向客人重复他的话时，她突然意识到她是在宣布要举行婚礼，并且她即将与她的第一任丈夫再婚。她欣喜若狂地走上过道，意识到她一直以来真正爱的是他。
Another instance of this twist to the plot was The Philadelphia Story (1940), originally written as a romantic comedy for Hollywood and later adapted to make the even better-known film musical High Society (1956). We meet the heroine, Tracy Lord (Katherine Hepburn/Grace Kelly), a rich, beautiful and frigid society girl, in her family’s grand house (originally in Philadelphia, in the musical version at Newport, Long Island). Having been divorced from her first husband, Dexter Haven, she is making preparations for her wedding the following day to the new man in her life, a socially ambitious nouveau riche. When the relaxed and genial Dexter (Cary Grant/Bing Crosby) then strolls in to remind her teasingly of the happy romantic times when they were still in love, this begins to sow painful doubts in her mind. He tells her the only reason she has accepted her new fiancé is that he treats her like a goddess on a pedestal, and that her desire to be worshipped is her great weakness. At a lavish eve of wedding ball, Tracy gets drunk and recklessly wanders off to enjoy an amorous liaison with a handsome, raffish newspaperman (James Stewart/Frank Sinatra), who has been sent to cover the event for a vulgar gossip sheet. This descent into an ‘inferior realm’ thaws her out of her icy frigidity, and liberates her into becoming a different woman: with the result that she and her stuffy fiancé have a flaming row. With a crowd of fashionable guests already assembled for the wedding and the organ ready to strike up ‘Here Comes The Bride’, she decides to call the wedding off. She is nervously standing at the door, wondering how to explain it to the guests, when Dexter materialises at her shoulder, having recognised that the goddess has stepped down from her pedestal and become the warmer, softer, feminine girl he always knew she had it in her to be. He whispers to her what she is to say and, as she dutifully repeats his words to the guests, she suddenly realises that she is announcing that there is to be a wedding after all, and that she is about to remarry her first husband. Deliriously happy, she walks up the aisle, recognising that it is him she has really loved all along.
无论这种情况看起来多么新奇，它实际上只是自米南德时代以来贯穿喜剧的主题的当代版本：因误会而分开的恋人，甚至可能暂时与其他人分道扬镳，但最终还是会在一起。和解了。正是这种情况塑造了 1950 年代革命性的戏剧《愤怒回首》（1956），当时很少有人敢将其描述为纯粹的“喜剧”。在肮脏的中部城市一间狭窄的公寓里，吉米·波特一直在与妻子艾莉森争吵，直到最终他和她的朋友海伦一起逃走。他认识到自己的处境并没有更好，他真正爱的是艾莉森。他回到家，与艾莉森和解，最终他们在“松鼠和熊”的幼稚幻想中幸福地团聚。
However novel this situation may seem, it is really only a contemporary version of that theme which has run through Comedy since the time of Menander: the lovers who are separated by a misunderstanding, and may even temporarily go off with other parties, but are eventually reconciled. It was precisely the situation that shaped that apparently revolutionary drama of the 1950’s, Look Back in Anger (1956), which few would have dared at the time to describe as a mere ‘comedy’. In a cramped flat in a dingy Midlands city, Jimmy Porter is perpetually arguing with his wife, Alison, until eventually he escapes with her friend Helen. He recognises that he is no better off and that it is Alison he really loves. He returns home, makes up his quarrel with Alison, and they end happily reunited in their childish fantasy of ‘squirrels and bears’.
然而，直到二十世纪末，现代喜剧才终于成功地彻底颠覆了历史悠久的情节的外在惯例。电影《四个婚礼和一个葬礼》的男主角（1994），由休·格兰特饰演，是一群相继结婚（或者在某个情况下死亡）的年轻朋友之一。第一次婚礼后，他与另一位客人，一位美国女孩发生了一夜的风流韵事，但她回到了美国。最终，随着婚礼的顺序展开，英雄看到他所有的朋友都结婚而变得如此绝望，以至于他向该团体中的另一位同样处于搁置状态的成员求婚。当宾客们齐聚教堂，参加故事中的最后一场婚礼时，英雄在人群中看到了他一直无法忘怀的美国女孩。当英雄和他的美国朋友设法逃离教堂并一起跑进雨中时，新娘已经站在祭坛前了。表达对彼此永恒的爱，
Only towards the end of the twentieth century, however, did modern Comedy finally manage to turn the outward conventions of the time-honoured plot completely on their head. The hero of the film Four Weddings and a Funeral (1994), played by Hugh Grant, is one of a group of young friends who, one after another, get married (or in one case, die). After the first wedding, he has a one-night affair with another guest, an American girl, but she returns to America. Eventually, as the sequence of weddings unfolds, the hero becomes so desperate at seeing all his friends married off that he proposes to another member of the group who is similarly on the shelf. As the guests all gather in church for what it seems will be the final wedding of the story, the hero sees in the congregation the American girl he has never been able to get out of his mind. The bride is already standing at the altar when the hero and his American friend manage to escape from the church and run off together into the rain. Declaring undying love for each other, they agree their love is so real that it would be a mistake for them ever to get married.
2000多年来，喜剧的高潮是男女主角终于可以去参加婚礼的那一刻，而这部喜剧似乎完全颠倒了：一个由一连串婚礼组成的故事，但最终男女主角一致同意，作为他们爱情真实的最终证明，他们不应该结婚。然而，这只是倒立的外在形式。在他们经历了分离、误解和错误的配对之后，故事仍然结束了，男女主人公最终走到了一起，承认了他们的爱情结合。尽管喜剧情节看似颠覆了惯例，但其潜在力量仍然使故事达到了不可抗拒的典型结局。
After more than 2000 years of comedies in which the climax was the moment when the hero and heroine could at last head off to their wedding, here was one which might have seemed the complete inversion: a story made up of a whole succession of weddings, but in which the resolution finally came with hero and heroine agreeing, as ultimate proof that their love was real, that they should not get married. However, it was only the outward form which had been stood on its head. The story still ended, after all their separations, misunderstandings and pairing off with the wrong partners, with hero and heroine coming together in recognition of their loving union. For all its seeming reversal of convention, the underlying power of the Comedy plot still brought the story to its irresistible archetypal conclusion.
喜剧：总结
Comedy: Summing-up
喜剧不能用与其他基本情节完全相同的方式来概括，因为情节的本质要求它涵盖如此多的变化。但故事的本质始终是：
Comedy cannot be summarised in quite the same way as the other basic plots because the very nature of the plot requires it to cover such a range of variations. But the essence of the story is always that:
（1）我们看到一个小世界，人们在困惑、不确定和沮丧的阴影下度过，彼此隔绝；
(1) we see a little world in which people have passed under a shadow of confusion, uncertainty and frustration, and are shut off from one another;
（2）混乱越来越严重，直到黑暗的压力达到最严重，每个人都陷入噩梦般的纠结之中；
(2) the confusion gets worse until the pressure of darkness is at its most acute and everyone is in a nightmarish tangle;
（3）最后，随着以前未曾认识到的事物的出现，人们的看法发生了巨大的改变。阴影被驱散，情况奇迹般地改变，小世界在欢乐的结合状态中聚集在一起。
(3) finally, with the coming to light of things not previously recognised, perceptions are dramatically changed. The shadows are dispelled, the situation is miraculously transformed and the little world is brought together in a state of joyful union.
因此，喜剧的关键是两种一般状态之间的转变。第一个贯穿整个故事的大部分内容是一种看不清任何东西的暮色。人们的真实本性或身份可能被掩盖；以及谁最终应该和谁在一起可能存在不确定性。黄昏的主要原因通常是某个中心黑暗人物，他们在某种程度上盲目而无情地行事。正是他（或她）的自我中心让其他人陷入了阴影，并导致人们彼此不和。没有什么比故事中男女主人公的分离更能象征这种分裂状态了。第二种状态随着“认识”和“解开”而到来，在故事的高潮处，黑暗人物以某种方式被抓住，一切终于都清晰可见。每个人的真实本性和身份都被显露出来；每个人都知道谁是自己真正的“另一半”；故事以黑暗和分裂结束，呈现出伟大的团结的景象。原来的黑暗现在变成了光明。原来被分割的部分现在完整了。没有什么比男女主人公的结合更能体现这一点了。
The key to Comedy is thus the transition between two general states. The first which persists through most of the story is a kind of twilight in which nothing is seen clearly; where people’s true nature or identity may be obscured; and where there may be uncertainty as to who should end up with whom. The chief cause of the twilight is usually some central dark figure, who is in some way acting blindly and heartlessly. It is his (or her) egocentricity which is throwing everyone else into the shadows, and setting people at odds with one another. And nothing symbolises this state of division more powerfully than that it is keeping apart the hero and heroine of the story. The second state arrives with the ‘recognition’ and ‘unknotting’ when, at the climax of the story, the dark figure is in some way caught out, and all is at last seen clearly. Everyone’s true nature and identity is revealed; everyone recognises who is his or her proper ‘other half’; and the story ends, with darkness and division at an end, on the image of a great coming together. What was dark is now light. What was divided is now whole. And nothing symbolises this more completely than the union of hero and heroine.
在第一个黄昏时期，故事所呈现的世界通常以某种方式分为“上界”和“下界”，其中故事的主要黑暗源头在其中占据主导地位，而“下界”则处于阴影之中。生命和真理的种子、爱的潜力和看到整体的能力都在“线下”、“低等领域”中被发现：在占主导地位的“上领域”中被遮蔽，直到他们准备好被带到光明中，将世界的两半结合在一起。
During the first, twilit period, the world presented by the story is usually divided in some way into an ‘upper realm’, where the story’s chief source of darkness holds sway, and a ‘lower realm’ in the shadows. It is ‘below the line’, in the ‘inferior realm’ that the seeds of life and truth, the potential for love and the ability to see whole are to be found: obscured from the dominant ‘upper realm’ until they are ready to be brought up into the light, to bring both halves of the world together.
在这种总体模式的背景下，绝大多数由喜剧情节塑造的故事分为两种主要类型。
Within the context of this general pattern, the great majority of stories shaped by the Comedy plot fall into two main types.
第一种情况是，给整个过程投下阴影的黑暗的主要来源是英雄以外的某个角色（例如，无情的父亲或“黑暗的对手”），他以一种造成不快乐和混乱并受到反对的方式统治其他所有人。到生命的流动。在这样的故事中，被置于阴影之中的主要受害者很可能是男女主角；只有当黑暗人物睁开眼睛并改变主意，或者暴露并被推下舞台时，它们才能被提升到光明中并聚集在一起。
The first is where the chief source of darkness throwing a shadow over the proceedings is some character other than the hero (e.g., an unrelenting father or a ‘dark rival’) who dominates everyone else in a way which creates unhappiness and confusion and is opposed to the flow of life. In such a story the chief victims consigned to the shadows are likely to be the hero and heroine; and they can only be raised up into the light and brought together when the dark figure either has his eyes opened and goes through a change of heart, or is exposed and pushed off the stage.
第二个是主要的黑暗人物是英雄本人。那么，受委屈的女主人公，代表真情和洞察整体的能力，最明显地处于阴影之中。在这里，为了达到幸福的结局，主人公必须经历内心的转变并“醒悟过来”。当他获得解放时，女主角也获得了解放，他们可以一起出现在光明中。在那些罕见的例子中，女主人公是黑暗人物，被掩盖的是她自己压抑的内在女性气质。充满爱心的英雄感知并表现出这一点，因此她同样经历了必要的内心转变，以带来幸福的结局。
The second is where the chief dark figure is the hero himself. It is then the wronged heroine, standing for true feeling and the ability to see whole, who is most obviously in the shadows. Here, to reach the happy ending, it is necessary for the hero to go through a change of heart and ‘come to himself’. As he is liberated, so also is the heroine, so they can emerge together into the light. In those rare examples where the heroine is the dark figure, it is her own repressed inner feminity which is obscured. It is this which the loving hero perceives and brings out, so that she likewise goes through the change of heart necessary to bring about the happy ending.
还有第三种类型的喜剧，其中没有通常意义上的明显的黑暗人物，混乱的根源只是一种普遍的误解状态，每个人都处于这种状态（例如，错误的喜剧，仲夏夜之梦） ,男人和娃娃,四个婚礼和一个葬礼）。但在这里，只有从阴影中赢得救赎的真理，才能达成解决方案。在这里，我们比以往任何时候都更清楚地看到喜剧真正关注的是意识：人们意识到了什么。混乱和冲突的真正原因始终是人物没有完全意识到真相，无论是关于他人还是关于他们自己；当他们处于这种有限的意识状态时，他们仍然彼此隔绝。消除困惑的是，他们的意识终于打开了，他们可以看到一切、每个人，包括他们自己，完整而直接的。正是这一点使他们能够正确地感受并发现他们如何能够在团结和爱的状态下彼此联系：因为他们终于“看到了光明”。
There is a third type of Comedy where there is no obvious dark figure in the usual sense, and where the source of confusion is simply a general state of misunderstanding which has everyone in its grip (e.g., The Comedy of Errors, A Midsummer Night’s Dream, Guys and Dolls, Four Weddings and a Funeral). But here the resolution can still only be reached when the redeeming truth is won from the shadows. And here we see more clearly than ever how the real preoccupation of Comedy is consciousness: what people are aware of. The real cause of confusion and conflict is always that the characters are not fully conscious of the truth, either about other people or about themselves; and while they are in this limited state of awareness they remain shut off from one another. What dispels the confusion is that their awareness is finally opened out so that they can see everything and everyone, including themselves, straight and whole. It is this which enables them to feel properly and to discover how they can all relate to each other in a state of unity and love: because they have at last ‘seen the light’.
我们现在可以在我们之前考虑过的其他类型故事的背景下看待喜剧情节。
We can now look at the plot of Comedy in the context of the other types of story we considered earlier.
与其他情节一样，它描绘了一个世界，在这个世界中，黑暗的威胁力量在故事的大部分内容中以某种方式占据主导地位。与其他故事一样，这种压力很可能在故事即将结束时达到顶峰。与其他故事一样，接下来是逆转，奇迹般的解放，这样故事就可以以完整和完整的形象结束。
Like the other plots, it conjures up a world in which the threatening power of darkness is, through most of the story, in some way or other dominant. As in the others, this pressure is likely to reach its height just before the end, in the story’s climax. As in the others, there then follows the reversal, the miraculous liberation, so that the story can end on an image of wholeness and completion.
在前三部《战胜怪物》、《白手起家》和《探寻》中，我们看到了一个本质上是光明的男女主人公，在黑暗的人物的笼罩下，走向了黑暗被推翻、最终完全出现在光明中的时刻。 。在《航海与归来》故事最完整的例子中，我们看到一个英雄，他一开始就表现出了黑暗人物的一些特征，但最终在“另一个世界”从包围他的黑暗势力中解放出来。事实上，他已经变成了一个轻人。
In the first three plots, Overcoming the Monster, Rags to Riches and the Quest, we saw an essentially light hero or heroine, overshadowed by dark figures, moving towards the moment when the darkness is overthrown and they can at last emerge completely into the light. In the most fully developed examples of the Voyage and Return story, we saw a hero who begins by displaying some of the characteristics of a dark figure himself, but who is eventually liberated from the dark forces closing round him in the ‘other world’ by the fact that he has switched to become a light figure.
在喜剧中，我们看到这两种模式都在发挥作用。有时，就像在早期类型的故事中一样，男女主角本质上是光明的，但被其他占主导地位的黑暗人物所掩盖，他们必须切换到光明，以便男女主角能够团结起来。有时，就像在《远航》和《归来》的例子中一样，英雄本人是黑暗的，只有他转向光明，才能为通向光明铺平道路。幸福的结局。无论哪种形式，喜剧都不同于早期类型的故事，在早期类型的故事中，与男女主人公相对立的黑暗人物并没有改变心意，只是在最后因沮丧或被推翻而被清除（尽管即使在喜剧中）在那些“不甘心的黑暗人物”被抓住并推下舞台的例子中，这一点仍然存在。）只有在喜剧中，所有角色才会被揭露并和解，从而产生一个完全团结的小世界的故事结尾形象。
In Comedy we see both patterns at work. Sometimes, as in the earlier types of story, the hero and heroine are essentially light but overshadowed by some other dominant dark figure, who has to make the switch to light so that hero and heroine can be united. Sometimes, as in those Voyage and Return examples, the hero himself is dark and it is his switch to light which is necessary to pave the way to the happy ending. In either form, Comedy differs from the earlier types of story, where the dark figures opposed to the hero or heroine went through no change of heart but were simply cleared out of the way at the end by being discomfited or overthrown (although even in Comedy some vestige of this remains in those examples where the ‘unreconciled dark figure’ is caught out and pushed off the stage). Only in Comedy is it the general tendency for all the characters to be brought to light and reconciled, to produce the story’s closing image of a little world wholly united.
即便如此，到目前为止我们所看过的所有类型的故事都有一个共同点，那就是它们都表明，黑暗的力量本身必须被征服，这是男女主人公能够享受幸福结局的前提。我们现在要第一次考虑的是，当中心人物变得黑暗并且没有改变心意，而是直到最后仍然保持黑暗时，故事中会发生什么。这产生了一种在某些方面与我们之前看过的故事完全不同的故事。但最终，正如我们将看到的，支配其展开的基本规则与支配其他情节结构的规则完全一致。
Even so, what all the types of story we have looked at so far have in common is that they show the power of darkness itself having to be vanquished as the precondition of the hero or heroine being able to enjoy a happy ending. What we are now about to consider for the first time is what happens in stories when the central figure becomes dark and does not go through a change of heart, but remains dark right to the end. This produces a kind of story which in some respects is quite unlike any of those we have previously looked at. Except that ultimately, as we shall see, the fundamental rules which govern its unfolding are entirely consistent with those which govern the structure of the other plots.
在调查早期的情节时，我们最后简要地回顾了每种类型故事的“黑暗”版本：潜在模式未能得出适当的、令人愉快的结论的例子。就喜剧而言，可能会有一个“黑暗”版本，这似乎是一个矛盾，因为如果“认可”和改变心意未能作为幸福结局的前提条件发生，那么故事就几乎不可能成为现实。被视为喜剧。那么我们该如何描述这样一个故事呢？
In surveying the earlier plots we ended by looking briefly at the ‘dark’ versions of each type of story: examples where the underlying patterns fails to work out to its proper, happy conclusion. In the case of Comedy it might seem a contradiction in terms that there could be a ‘dark’ version, in that if ‘recognition’ and a change of heart fail to take place as the precondition of a happy ending, the story can scarcely be regarded as a Comedy. How then would we describe such a tale?
让我们考虑一个熟悉的例子。我们看到一个英雄爱上了一个美丽的女英雄。她爱他，尽管她父亲最初强烈反对，认为他“低人一等”，但他们还是结婚了。但英雄无意中冒犯了嫉妒、怨恨的第三方，后者成为故事中的主要黑暗人物。黑暗人物决定报仇，并开始向英雄暗示他年轻的妻子对他不忠。反派策划了一个黑暗阴谋，涉及一块丢失的手帕，据说是女主角送给她情人的。英雄被骗了，愤怒得精神错乱。如果这是一部喜剧，当混乱和误解达到顶峰时，“认识”的过程就会开始澄清事情。手帕丢失的真正原因将会水落石出。那个黑暗的人物将会因为他的恶棍身份而暴露出来。英雄会认识到他极大地冤枉了他的妻子，并且会充满悔恨。最终男女主角和好如初，一切皆大欢喜。然而众所周知，故事并没有这样结束，正是因为没有“认可”。《奥赛罗》不是一部喜剧，它引导我们进入下一个情节。
Let us consider a familiar example. We see a hero who falls in love with a beautiful heroine. She loves him and despite strong initial opposition from her father, who regards him as ‘inferior’, they get married. But the hero unwittingly gives offence to a jealous, embittered third party, who becomes the chief dark figure of the story. The dark figure determines to get his revenge, and begins to drop hints to the hero that his young wife is being unfaithful to him. The villain hatches a dark plot, involving a lost handkerchief, supposedly given by the heroine to her lover. The hero is taken in and becomes deranged with rage. If this were a Comedy, when confusion and misunderstanding have reached their height, this is where the process of ‘recognition’ would begin to clear things up. The true explanation of the lost handkerchief would come to light. The dark figure would be exposed for the villain he is. The hero would recognise he had dreadfully wronged his wife, and would be filled with contrition. Finally hero and heroine would be reconciled, and all would end happily. As we all know, however, the story does not end like that, precisely because there is no ‘recognition’. Othello is not a comedy, and it leads us on to the next plot.
第8章
悲剧（一）：五个阶段
Chapter 8
Tragedy (I): The Five Stages
“为了那个——为了那个——我愿意付出一切！是的，世界上没有什么是我不肯付出的！我愿意为此付出我的灵魂！
‘For that – for that – I would give everything! Yes, there is nothing in the world I would not give! I would give my soul for that!’
奥斯卡·王尔德《道林·格雷的画像》
Oscar Wilde, The Picture of Dorian Gray
“他感觉自己之前分散的所有力量现在都集中起来，以可怕的能量指向一个幸福的目标。”
‘He felt that all his powers, hitherto dissipated and scattered, were now concentrated and directed with terrible energy towards one blissful aim.’
安娜·卡列尼娜渥伦斯基
Vronsky in Anna Karenina
“从那一刻起，她的整个存在就只剩下谎言的迷宫了。”
‘From that moment her whole existence was nothing but a maze of lies.’
古斯塔夫·福楼拜《包法利夫人》
Gustave Flaubert, Madame Bovary
‘耶稣啊，发发慈悲吧！柔软的！我只是做梦而已。
‘Have mercy, Jesu! Soft! I did but dream.
哦，胆怯的良心，你让我多么痛苦！
O coward conscience, how thou dost afflict me!
灯光呈蓝色。现在已经是半夜了。
The lights burn blue. It is now dead midnight.
冰冷的泪水确实落在我颤抖的肉体上……
Cold tearful drops do stand upon my trembling flesh...
所有的几种罪恶，都在各个程度
All several sins, all us’d in each degree
众人涌向酒吧，高呼“有罪！有罪的！”
Throng to the bar, crying all “Guilty! Guilty!”
我会绝望。没有生物爱我。
I shall despair. There is no creature loves me.’
理查三世（去世前夕）
Richard III (on the eve of his death)
'所以你会听到
‘So shall you hear
肉体、血腥和不自然的行为；
Of carnal, bloody and unnatural acts;
偶然的判断，随意的屠杀，
Of accidental judgements, casual slaughters,
因狡猾和被迫而造成的死亡；
Of deaths put on by cunning and forced cause;
在这个结果中，目的错误地
And in this upshot, purposes mistook
落在发明家的头上。
Fall’n on the inventors’ heads.’
哈姆雷特诉Sc.ii
Hamlet, Act v. Sc.ii
迟早，在任何探索塑造故事讲述的更深层次模式的尝试中，我们都会遇到一个核心的、压倒性的事实。正是这样，在人类想象力所产生的数以百万计的故事中，只有两个结局远远超过了其他所有结局。事实上，我们几乎可以说，要使一个故事以一种看起来真正最终和完整的方式解决，它只能通过两种方式之一来实现。要么以一个男人和一个女人相爱而告终。或者以死亡告终。
Sooner or later, in any attempt to explore the deeper patterns which shape storytelling, we are brought up against one central, overwhelming fact. This is the way in which, through all the millions of stories thrown up by the human imagination, just two endings have far outweighed all others. In fact we might almost say that, for a story to resolve in a way which really seems final and complete, it can only do so in one of two ways. Either it ends with a man and a woman united in love. Or it ends in a death.
从表面上看，这似乎并不特别奇怪。毕竟，人类生命中没有什么比死亡更最终的了。还有什么比我们的想象力想象出以男女主人公年老和死亡为结局的故事更自然的呢？
On the face of it, this might not seem particularly odd. Nothing in human life, after all, might be considered more final than death, What could be more natural than that our imaginations should conjure up stories which conclude with their hero or heroine reaching old age and death?
但问题是，以这样的结局、男女主人公安详地在年华中逝去的故事并不多。当我们谈论一个以死亡结尾的故事时，我们通常指的并不是那种死亡。全部。我们指的是暴力的、过早的、“非自然”的死亡。换句话说，我们指的是死亡，表明某些事情已经发生了可怕的事情，或者正如我们所说的，悲惨的错误。
But the point is that the number of stories which end like this, with their hero or heroine passing peacefully away in the fullness of years, is not very great. When we talk of a story ending in a death we do not usually mean that kind of death at all. We mean a death that is violent, premature, a death that is ‘unnatural’. In other words, we mean a death which shows that something has gone hideously or, as we say, tragically wrong.
当然，大量以暴力死亡告终的故事绝不具有相同的基本形态。有可能通过多种途径中的任何一种到达这样的结局。首先，正如我们从其他情节的“黑暗”版本中看到的那样——黑暗的白手起家故事、黑暗的任务等等——其他基本类型的故事也有可能导致这样的结局。结论，当我们可能会谈论他们有一个“悲剧结局”时。即使当我们转向数千年来被更具体地描述为“悲剧”的伟大故事家族时，我们也会发现它们的基本形式和道德重点有相当大的多样性。与喜剧相比，我们正在冒险进入一个无法仅用一个简单公式来描述的讲故事领域。
Of course the huge mass of stories which end in violent death do not by any means all have the same underlying shape. It is possible to arrive at such an ending by any of a number of routes. For a start, as we have seen from our glimpses of the ‘dark’ versions of other plots – the dark Rags to Riches story, the dark Quest and so on – it is possible for other basic types of story to lead up to such a conclusion, when we might talk of them having a ‘tragic ending’. And even when we turn to that great family of stories which have for thousands of years been more specifically described as ‘tragedies’, we find considerable variety in their underlying shape and moral emphasis. Even more than with Comedy, we are venturing here into an area of storytelling which cannot be delineated in just one simple formula.
然而，纵观讲故事的历史，我们发现一种特殊的故事类型是由一种如此持久、如此独特的模式所塑造的，以至于不会被误认。这可以通过五个著名的例子来说明，这些例子是在各种不同的文化背景下出于不同的目的而创作的：希腊神话中的伊卡洛斯；德国浮士德传说；莎士比亚的麦克白；史蒂文森的十九世纪恐怖故事《杰基尔博士和海德先生》；还有一部现代小说，纳博科夫的《洛丽塔》。
Nevertheless, all through the history of storytelling, we find one particular type of story which is shaped by a pattern so persistent and so distinctive as to make it unmistakable. This can be illustrated by five well-known examples, composed in a wide variety of cultural circumstances and for greatly differing purposes: the Greek myth of Icarus; the German legend of Faust; Shakespeare’s Macbeth; Stevenson’s nineteenth-century horror story, Dr Jekyll and Mr Hyde; and a modern novel, Nabokov’s Lolita.
伊卡洛斯的故事讲述了他和他的父亲、发明家代达罗斯如何通过羽翼逃离克里特岛。在他们出发之前，他的父亲热情地警告他，不要飞得太高，以免太阳的热量融化将翅膀固定在一起的蜡，也不要飞得太低，以免它们掉进海里。他们出发了，有一段时间一切都很顺利——直到最终，伊卡洛斯无法承受诱惑，无视父亲的建议，保持对立面。他希望飞得越来越高，向着太阳。当蜡开始融化时，他最初的兴奋首先变成了焦虑，然后变成了恐慌。翅膀折断了，伊卡洛斯再也无法跟上，他一头扎进下面的大海里死去。
The story of Icarus tells of how he and his father, the inventor Daedalus, are enabled to escape from the island of Crete by means of feathered wings. Before they set out his father gives him an impassioned warning to fly neither too high, lest the heat of the sun melt the wax holding the wings together, nor too low, lest they fall into in the sea. They set off, and for a while all goes well – until eventually the temptation to ignore his father’s advice to keep between the opposites proves too much for Icarus. He wishes to soar up higher and higher, towards the sun. His initial exhilaration turns first to anxiety, as the wax begins to melt, then to panic. The wings are giving way, Icarus can no longer keep up, and he plunges headlong to his death in the sea below.
博学的学者浮士德渴望“禁忌知识”和掌握神秘力量，将自己的灵魂出卖给了魔鬼。起初，他目睹了各种奇迹和奇迹，并赢得了很高的声誉。但渐渐地，他所能想象出的幻象的虚幻性开始变得令人厌烦。更糟糕的是，浮士德（在马洛的戏剧《浮士德博士》中）感觉到，他必须付出代价的时刻已经临近——直到，在不断加剧的恐惧中，他看到自己被恶魔带入地狱，面临永远的惩罚的时刻到来了。
The learned scholar Faust, eager for ‘forbidden knowledge’ and the mastery of occult powers, sells his soul to the devil. At first he is given glimpses of all sorts of marvels and wonders, and wins a great reputation. But gradually the insubstantiality of the visions he can conjure up begins to pall. Worse, Faust (in Marlowe’s dramatisation Dr Faustus) senses that the time is drawing near when he must pay the price – until, amid mounting horror, he sees the moment arrive when he is carried down to hell by demons, to face everlasting punishment.
女巫告诉麦克白，一位胜利而雄心勃勃的将军，他将获得各种荣誉，包括他有一天将成为苏格兰国王的不可能的承诺。当他们的小预言开始实现时，麦克白被诱惑使他们完成，谋杀了在位国王邓肯并继承了他的王位。起初一切似乎都很顺利，并且麦克白成为国王；但他在新的状态下并不安全。他的周围开始出现怀疑，导致他为了保住自己的地位而犯下更多罪行。然后，彻底的反对就会聚集起来。直到麦克白被前进的敌人包围并被杀。
Macbeth, the victorious and ambitious general, is told by the witches of all sorts of honours which will come to him, including the improbable promise that he will one day be king of Scotland. When their lesser prophecies begin to come true, Macbeth is drawn by the temptation to make them complete, by murdering the reigning king Duncan and so succeeding him. At first all seems to go well, and Macbeth becomes king; but he is not secure in his new state. First suspicion mounts around him, leading him to commit further crimes in a desperate effort to make his position safe. Then outright opposition gathers; until Macbeth is surrounded by his advancing enemies and killed.
杰基尔博士是一位外表受人尊敬的医生，但他的秘密生活却令人怀疑。他发现了一种药剂，可以使他分裂成两个人格，一个是正常的“光明”自我，另一个是黑暗而畸形的海德先生。起初，能够在夜间逃入他的海德自我，沉迷于各种无名的邪恶，然后在白天安全地返回他的杰基尔自我，是令人兴奋的。但渐渐地，海德人格开始占据主导地位，犯下一系列罪行，最终导致一场特别可怕的谋杀。杰基尔已经发现他越来越无法控制自己光明与黑暗性格之间的切换。现在，他发现自己永远陷入了另一个自我的状态，并逃离警察、他的朋友和所有人。在彻底绝望的情况下，他自杀了。
Dr Jekyll, the outwardly respectable medical man with a dubious secret life, discovers a potion which will enable him to split into two personalities, one his normal ‘light’ self, the other the dark and deformed Mr Hyde. At first it is exhilarating to be able to escape at night into his Hyde-self, indulging in all sorts of nameless wickedness, then to return safely to his Jekyll-self by day. But gradually the Hyde-personality begins to take over, committing a succession of crimes, culminating in a particularly horrible murder. Jekyll has already found he is increasingly unable to control the switches between his light and dark personalities. Now he finds himself trapped forever in his alter-ego state, and on the run from the police, his friends, everyone. In a state of total despair he kills himself.
亨伯特·亨伯特（Humbert Humbert）是一位外表受人尊敬的学者，长期以来一直对年轻女孩有着秘密的热情。有一天，当他在寻找住所时，当他看到他梦想中的“性感少女”洛丽塔躺在郊区的草坪上时，他的痴迷找到了最终的焦点。他在家里租了一个房间，并与洛丽塔寡居的母亲结婚，以便接近他“黑暗”欲望的对象。然后，母亲发现了他倾诉自己痴迷的秘密日记：她跑出家门，因恐惧而心烦意乱，被一辆驶过的汽车撞死。亨伯特因此成为洛丽塔的监护人，然后他和他顺从的监护人开始了一场疯狂的、梦幻般的美国之旅，在一系列的汽车旅馆房间里享受禁忌的性快感。但渐渐地两人陷入争吵，当他们在洛丽塔返回学校的一个小镇安顿下来时，一种可怕的挫败感油然而生。亨伯特隐约意识到另一个男人在周围徘徊，他是一位名叫奎尔蒂的剧作家，他似乎像一种神秘的影子一样威胁着他对洛丽塔的占有。另一个自我。为了逃脱，亨伯特带着洛丽塔踏上了第二次穿越美国的旅程，这一次更像是一场噩梦，而不是一场梦，因为神秘的奎尔蒂正在跟踪他们，这一点似乎越来越明显；直到有一天洛丽塔消失了，被奎尔蒂绑架了。经过几年的孤独痛苦后，亨伯特最终发现了他们俩身上发生的事情。洛丽塔已经长大并嫁给了别人，不再与他非法幻想中的小女孩有任何关系。在恐惧和心烦意乱的状态下，亨伯特复仇地追踪奎尔蒂，这个另一个自我剥夺了他的梦想，并冷血地谋杀了他。他被捕，在得知洛丽塔死于难产后，他自己也死在监狱里，即将被处决。
Humbert Humbert, the outwardly respectable scholar, has long nurtured a secret passion for very young girls. One day, when he is looking for lodgings, his obsession finds its ultimate focus when he sees sprawled on a suburban lawn the ‘nymphet’ of his dreams, Lolita. He takes a room in the house and marries Lolita’s widowed mother, in order to be near the object of his ‘dark’ desires. The mother then discovers the secret diaries to which he has confided his obsession: she runs out of the house, distracted with horror, and is killed by a passing car. Humbert thus becomes Lolita’s guardian, and he and his compliant ward then embark on a wild, dreamlike journey around America, enjoying forbidden sexual pleasure in a succession of motel rooms. But gradually the two fall to quarrelling and, as they settle in a little town where Lolita returns to her schooling, a mood of terrible frustration sets in. Humbert becomes dimly aware of another man hovering around, a playwright called Quilty, who seems to threaten his possession of Lolita like a kind of shadowy alter-ego. To get away, Humbert takes Lolita off on a second journey across America, this time more like a nightmare than a dream, as it seems increasingly obvious that the mysterious Quilty is following them; until one day Lolita disappears, kidnapped by Quilty. After some years of lonely misery Humbert eventually discovers what happened to them both. Lolita, grown up and married to someone else, no longer bears any relation to the little girl of his illicit fantasies. In a state of horror and distraction, Humbert vengefully tracks down Quilty, the alter-ego who had robbed him of his dream, and murders him in cold-blood. He is arrested and, after learning that Lolita has died in childbirth, himself dies in prison on the verge of his execution.
这些故事中的每一个都展示了一个英雄被诱惑或被迫采取某种黑暗或禁止的行动方针。有一段时间，当英雄踏上旅程时，他享受着几乎令人难以置信的、梦幻般的成功。但不知何故，他所追求的道路的本质使他无法获得满足。他的心情因挫败感而变得越来越不稳定。当他仍在追求梦想，徒劳地试图确保自己的地位稳固时，他开始感到越来越多的威胁——事情已经失控了。最初的梦想已经变成了一场噩梦，一切都变得越来越不对劲。这最终导致英雄的暴力毁灭。
Each of these stories shows a hero being tempted or impelled into a course of action which is in some way dark or forbidden. For a time, as the hero embarks on a course, he enjoys almost unbelievable, dreamlike success. But somehow it is in the nature of the course he is pursuing that he cannot achieve satisfaction. His mood is increasingly chequered by a sense of frustration. As he still pursues the dream, vainly trying to make his position secure, he begins to feel more and more threatened – things have got out of control. The original dream has soured into a nightmare where everything is going more and more wrong. This eventually culminates in the hero’s violent destruction.
In fact we can set out the general stages through which the pattern unfolds like this:
1.期待阶段：英雄在某种程度上是不完整的或未实现的，他的思想转向未来，希望得到一些不寻常的满足。某种欲望的对象或行动方针出现了，他的能量找到了焦点。
1. Anticipation Stage: the hero is in some way incomplete or unfulfilled and his thoughts are turned towards the future in hope of some unusual gratification. Some object of desire or course of action presents itself, and his energies have found a focus.
2.梦想阶段：他以某种方式致力于他的行动方针（例如，浮士德与魔鬼签订契约，亨伯特导致洛丽塔母亲的死亡，这使他能够开始他的外遇），有一段时间事情几乎进展顺利对于英雄来说可能不太好。他正在赢得他梦寐以求的满足，而且似乎正在“侥幸逃脱”。
2. Dream Stage: he becomes in some way committed to his course of action (e.g., Faust signing his pact with the devil, Humbert causing the death of Lolita’s mother which enables him to enter on his affair) and for a while things go almost improbably well for the hero. He is winning the gratification he had dreamed of, and seems to be ‘getting away with it’.
3.挫折阶段：几乎在不知不觉中事情开始出错。英雄找不到休息的地方。他开始体验到一种挫败感，为了确保自己的地位，他可能会感到被迫采取进一步的“黑暗行为”，这使他更加不可挽回地陷入自己的行动方针中。此时可能会出现一个“影子”，似乎以某种隐晦的方式威胁着他。
3. Frustration Stage: almost imperceptibly things begin to go wrong. The hero cannot find a point of rest. He begins to experience a sense of frustration, and in order to secure his position may feel compelled to further ‘dark acts’ which lock him into his course of action even more irrevocably. A ‘shadow figure’ may appear at this point, seeming in some obscure way to threaten him.
4.噩梦阶段：事情正在严重脱离英雄的控制。他有一种越来越强烈的威胁感和绝望感。反对派和命运的力量正在向他逼近。
4. Nightmare Stage: things are now slipping seriously out of the hero’s control. He has a mounting sense of threat and despair. Forces of opposition and fate are closing in on him.
5.毁灭或死亡愿望阶段：英雄被毁灭，要么是因为他所激起的反对他的力量，要么是因为某种最终导致他自己死亡的暴力行为（例如谋杀或自杀）。
5. Destruction or death wish Stage: either by the forces he has aroused against him, or by some final act of violence which precipitates his own death (e.g., murder or suicide), the hero is destroyed.
如果我们再看看我们熟悉的《麦克白》的例子，我们就会发现这五个阶段与莎士比亚将戏剧分为五幕完全对应：
If we look again at the familiar example of Macbeth, we can see how these five stages correspond exactly to the five acts into which Shakespeare divides the drama:
1、第一幕（期待阶段）麦克白将军和班柯将军凯旋归来。他们遇到了“黑暗姐妹”，她们向麦克白预言他将拥有三个伟大的头衔：格拉米斯、考德和国王。这激发了他的野心，当他听说心存感激的邓肯国王已经授予他前两个头衔时，他写信给他的妻子，告诉她女巫的预言，有一天他也将获得第三个头衔。她怂恿他完成预测，他们发现他们的“焦点”是谋杀邓肯的阴谋。
1. Act One (Anticipation Stage) shows the triumphant generals Macbeth and Banquo returning from winning a great victory. They meet the three ‘dark sisters’, who prophesy to Macbeth that he will hold three great titles, Glamis, Cawdor and King. This fires his ambition and when he hears that a grateful King Duncan has already rewarded him with the first two titles, he writes to his wife to tell her about the witches’ prediction that he would one day hold the third as well. She eggs him on to make the prediction complete, and they find their ‘focus’ in the conspiracy to murder Duncan.
2. 第二幕（梦幻舞台）显示麦克白犯下了“黑暗行为”，并随后杀死了两名马夫以掩盖他的罪行。最初，英雄的处境再好不过了。邓肯的两个儿子逃往英国，引起人们怀疑他们与犯罪有某种牵连，麦克白被选为国王。
2. Act Two (Dream Stage) shows Macbeth comitting the ‘dark deed’ and subsequently killing the two grooms to cover up his crime. Initially things could not go better for the hero. Duncan’s two sons flee to England, arousing suspicion that they had somehow been implicated in the crime, and Macbeth is chosen to be king.
3. 第三幕（沮丧阶段）以班柯的自言自语开始：“你现在拥有了一切：King、Cawdor、Glamis，一切，就像怪异女人所承诺的那样；” 而且，我担心，你这样做是最卑鄙的。” 初步的怀疑正在出现。麦克白反过来也不信任班柯，因为女巫们预测班柯的后裔将坐在苏格兰王位上，而不是麦克白的后裔。他策划了班柯的谋杀案。麦克白用“我们打死了蛇，而不是杀死它”这样的短语表达了他日益增长的挫败感，当这种情况更加严重时凶手报告说他们杀死了班柯，但他的儿子弗利恩斯逃脱了。那天晚上的晚餐上，麦克白遇到了班柯的鬼魂，该剧以麦克白最后一位苏格兰贵族中的支持者麦克达夫逃往英格兰与邓肯的儿子们会合的消息结束。
3. Act Three (Frustration Stage) opens with Banquo soliloquising ‘Thou hast it all now: King, Cawdor, Glamis, all, as the weird women promis’d; and, I fear, thou play’dst most foully for it’. The first inklings of suspicion are arising. Macbeth in turn is distrustful of Banquo because of the witches’ prediction that it would be his descendants, not Macbeth’s, who would sit on the throne of Scotland. He arranges for Banquo’s murder. Macbeth expresses his growing frustration in such phrases as ‘we have scotch’d the snake, not killed it’, and this is heightened when the murderers report that they have killed Banquo, but that his son Fleance escaped. At dinner that night Macbeth is confronted with Banquo’s accusing ghost, and the act ends with the news that Macbeth’s last supporter among the great Scottish lords, Macduff, has fled to England to join Duncan’s sons.
4. 第四幕（噩梦阶段）以麦克白第二次更加可怕的女巫拜访开始，女巫给了他三个越来越神秘的警告：他应该“小心麦克德夫”；他只会被“非女人所生的男人”推翻；而这只有当“伯纳姆森林来到邓西南”时才会发生。现在，麦克白的恐惧日益加剧，他猛烈攻击似乎对他威胁最大的人——逃亡的麦克德夫，安排他的妻子和孩子被残酷谋杀。该剧的第二部分表现了英格兰的流亡者对这一消息的恐惧，以及一支军队聚集在一起入侵苏格兰并推翻暴君的邪恶行为，现在所有人都清楚地看到了。
4. Act Four (Nightmare Stage) opens with Macbeth’s second, much more fearful visit to the witches, who give him three increasingly enigmatic warnings: that he should ‘beware Macduff’; that he will only be overthrown by ‘man not of woman born’; and that this can only happen when ‘Birnam wood has come to Dunsinane’. Now in a state of mounting terror, Macbeth lashes out at the man who seems most to threaten him, the fled Macduff, by arranging for his wife and children to be brutally murdered. The second part of the act shows the horror with which this news is greeted by the exiles in England, and the coming together of an army to invade Scotland and overthrow the tyrant whose villainy is now clear for all to see.
5. 第五幕（毁灭阶段）展示了麦克白周围的噩梦，并不断加深并达到高潮：麦克白夫人有罪的梦游场景（“不自然的行为确实会带来不自然的麻烦”）；复仇大军逼近麦克白位于邓西南的巢穴；麦克白夫人之死；最后是战斗，麦克白在麦克德夫杀死他之前得知麦克德夫“不是女人所生”。图案已完成。
5. Act Five (Destruction Stage) shows the nightmare closing in around Macbeth and deepening to its climax: with Lady Macbeth’s guilty sleepwalking scene (‘unnatural deeds do bring unnatural troubles’); the approach of the avenging army to Macbeth’s lair at Dunsinane; Lady Macbeth’s death; and finally the battle, when Macbeth learns that Macduff was ‘not of woman born’ just before Macduff slays him. The pattern is complete.
事实上，我们在这里看到的模式对于理解故事来说非常重要，它的含义将贯穿本书的其余部分。它不仅仅是探索我们在悲剧的总标题下思考的所有复杂故事系列的起点，因为它以最黑暗和最基本的形式呈现了悲剧主题。正如我们最终将看到的那样，它还为探索塑造故事的模式与塑造我们所谓的“现实生活”中的事件的模式之间的深刻联系提供了最佳起点之一。
The pattern we have been looking at here is in fact so fundamental to the understanding of stories that its implications will be with us for the rest of this book. It is not just the starting point for exploring all that complex family of stories which we think of under the general heading of Tragedy, because it presents the tragic theme in its blackest and most basic form. It also, as we shall eventually see, provides one of the best starting points for exploring the profound link between the patterns which shape stories and those which shape events in what we call ‘real life’.
事实上，我们应该完全熟悉这一悲剧循环的运作方式，这一点非常重要，因此我们很快将更详细地研究另外六个例子；除了已经触及的内容之外，我们还选择了这些内容，以更全面地了解悲剧可以展开的基本情况。
Indeed, so important is it that we should become completely familiar with the workings of this tragic cycle that we shall shortly look in rather more detail at a further half-dozen examples; and these have been chosen, in addition to those already touched on, to build up a fuller picture of the range of basic situations from which a Tragedy can unfold.
然后，在本章的结尾，我们将看看讲故事的人有时会改变基本悲剧主题的呈现重点的最明显的方式：只关注结尾阶段并从中间点开始。在整个周期中，挫败感逐渐达到最高点。
We shall then, at the end of this chapter, take a look at the most obvious way in which storytellers may sometimes vary the emphasis of their presentation of the basic tragic theme: by concentrating only on the closing stages and beginning at the point, halfway through the complete cycle, where the mood of frustration is coming to be uppermost.
最后，在接下来的两章中，我们将能够利用所有这些和其他例子，以更深入、更普遍的方式来审视悲剧的本质。当悲剧的男女主人公陷入致命的行动时，他们到底发生了什么？为什么它似乎会不可避免地导致灾难？这类故事与我们看过的所有其他故事的区别是什么？这些故事的基本动力是引导男女主人公走向幸福的结局？
Finally we shall be in a position, in the two chapters that follow, to draw on all these and other examples to look at the essence of Tragedy in a deeper and more general way. What is really happening to the hero or heroine of a tragedy as they get drawn into their fatal course of action? Why does it seem to lead so inexorably to disaster? And what is it which distinguishes this type of story from all the others we have looked at, where the fundamental impulse is to lead the hero or heroine to a happy ending?
道林·格雷的画像
The Picture of Dorian Gray
奥斯卡·王尔德的小说《道林·格雷的画像》 （1890）是一个以近乎寓言般的简单性来表达悲剧基本情节的故事，就像一种“黑色童话”。我们遇到了主人公，一个慵懒而异常美丽的年轻人，就在他的艺术家朋友巴兹尔·霍尔沃德正在完成他的肖像的那一刻。这时，亨利·伍顿勋爵的“黑暗”人物出现了，并用两种想法引诱英雄。首先，如果道林·格雷能够永远像照片中那样年轻美丽，而他的肖像却受到了岁月的摧残，那该多好啊。第二个是，如果认识到生命中最强烈的精神体验来自感官，那么过一种完全身体自我放纵的生活将是多么美妙。
A story which expresses the basic plot of Tragedy with almost allegorical simplicity, like a kind of ‘black fairy tale’, is Oscar Wilde’s novel, The Picture Of Dorian Gray (1890). We meet the hero, a languid and exceptionally beautiful young man, at just the moment when his artist friend Basil Hallward is completing a portrait of him. At this point the ‘dark’ figure of Lord Henry Wootton enters, and tempts the hero with two thoughts. The first is how wonderful it would be if Dorian Gray could always remain looking as young and beautiful as he does in the picture, while his portrait took on the ravages of the years instead. The second is how wonderful it would be to live a life of total physical self-indulgence, recognising that the most intense spiritual experiences in life come through the senses.
这是诱惑或聚焦的时刻。年轻的英雄被这两种相关的想法所吸引，并为他与亨利勋爵的“危险”新友谊而兴奋。他把自己的肖像带回家，并立即投入冒险的梦想舞台，爱上了一位美丽的年轻女演员西比尔·韦恩，他每晚都去看她扮演莎士比亚。他向西比尔求婚；她接受；第二天晚上，她的表演完全平淡而呆板。她向多里安解释说，她之所以能全心投入演戏，只是因为它是现实生活的替代品，但现在他走进了她的生活，她作为演员的动力已经消失了。多里安感到震惊并愤怒地告诉她，他只是因为她出色的人格而爱她在舞台上。他抛弃了她，她自杀了。他第一次注意到他在家中保存的肖像发生了轻微的变化：嘴部出现了新的、残酷的扭曲。他把肖像藏起来，但对所发生的事情并没有感到悔恨。
This is the moment of Temptation, or Focus. The young hero becomes possessed by these two related thoughts, and by the excitement of his ‘dangerous’ new friendship with Lord Henry. He takes his portrait home, and immediately plunges into the Dream Stage of his adventure by falling rapturously in love with a beautiful young actress, Sibyl Vane, whom he goes to see playing Shakespeare every night. He proposes to Sibyl; she accepts; and the following night she gives a thoroughly flat and wooden performance. She explains to Dorian that she had only been able to put her heart into acting because it was a substitute for real life, but now he has come into her life, her motivation as an actress has gone. Dorian is horrified and angrily tells her that he had only loved her for her brilliant persona on stage. He walks out on her, and she commits suicide. For the first time he notices a slight change in the portrait which he keeps at home: a new, cruel twist to the mouth. He hides the portrait away, but otherwise experiences no remorse for what has happened.
从某种意义上说，故事的梦境舞台持续了很长一段时间。多里安将自己投入到无情的感官满足中，有时在他的朋友亨利勋爵的帮助和怂恿下，无论他的幻想引导他到哪里，他似乎都能放纵自己。但渐渐地，我们意识到他的名字周围笼罩着丑闻的黑暗光环。越来越多的年轻男女因为与他有联系而遭到毁灭，甚至自杀。我们了解到他对有关性欲过剩、谋杀和精神错乱的历史故事越来越病态的迷恋（“有时他将邪恶仅仅视为实现他对美的观念的一种方式”）；尽管许多年后他看上去仍然像霍尔沃德画他那天一样年轻美丽，
In a sense the Dream Stage of the story continues for a long time. Dorian throws himself into a relentless round of sensual gratification, sometimes aided and abetted by his friend Lord Henry, and seems able to indulge himself wherever his fancy leads him. But gradually we are made aware that a dark aura of scandal is surrounding his name. A growing succession of young men and women are being destroyed, even committing suicide, because of their association with him. We learn of his increasingly morbid fascination with historical tales about sexual excess, murder and insanity (‘there were moments when he looked on evil simply as a mode through which he could realise his conception of the beautiful’); and although after many years he still looks outwardly as young and beautiful as on the day he was painted by Hallward, the portrait locked away in his house shows more and more signs of a terrible corruption.
沮丧阶段即将到来，最终有人——霍尔华德本人——有勇气面对多里安，讲述有关他的令人震惊的故事。格雷的反应是冷酷的愤怒，并冷血地谋杀了霍尔华德（就像麦克白谋杀班柯一样，这是一种新的“黑暗行为”，试图确保他的地位）。现在，故事笼罩在一种越来越噩梦般的气氛中，格雷勒索一位朋友，让他用酸溶解霍尔华德的尸体，在房子里种满兰花来掩盖恶臭，然后前往地狱。东伦敦的鸦片窝点（“恐怖窝点，旧罪孽的记忆可能会被新罪孽的疯狂摧毁”）。在这里，在烟雾缭绕的阴影中，西比尔·文的水手兄弟用左轮手枪威胁他，他从澳大利亚回来，一心要报仇。
The Frustration Stage is setting in, and eventually someone – Hallward himself – has the courage to confront Dorian with the shocking stories which are circulating about him. Gray reacts with cold rage and cold-bloodedly murders Hallward (like Macbeth’s murder of Banquo, a new ‘dark act’ committed in an attempt to secure his position). An increasingly nightmarish atmosphere now shrouds the tale, as Gray blackmails a friend into dissolving Hallward’s body in acid, fills the house with orchids to disguise the stench and heads off to the opium dens of east London (‘dens of horror where the memory of old sins could be destroyed by the madness of sins that were new’). Here, in the fume-filled shadows, he is threatened with a revolver by Sibyl Vane’s sailor brother, who has returned from years in Australia, bent on revenge.
格雷设法从这个噩梦般的场景中解脱出来，但却被吉姆·韦恩的神秘人物所困扰。住在乡间别墅时，他瞥见维恩透过温室的窗户往外看，然后晕了过去，尽管维恩第二天被一场枪击事件意外杀死，但格雷的思想现在陷入了无尽的恐惧和“对纯净的纯洁的疯狂渴望”中。在他开始腐蚀和摧毁这么多人的生活之前，他的童年时代。'新生活！这就是他想要的……他再也不会诱惑无辜了。他会很好的。
Gray manages to extricate himself from this nightmare scene but is haunted by the mysterious figure of Jim Vane. Staying at a country house, he glimpses Vane peering through the conservatory windows and faints, and although Vane is accidentally killed the next day by a shooting party, Gray’s thoughts are now in a ceaseless turmoil of horror and ‘wild longing for the unstained purity of his boyhood’ before he had embarked on corrupting and destroying so many people’s lives. ‘A new life! That was what he wanted ... he would never again tempt innocence. He would be good.’
于是，有一天晚上，他独自一人在家里沉思，决定再看一眼自己的肖像，他发现这幅画不仅看起来“比以前更令人厌恶，如果可能的话”，而且还闪烁着新溅出的鲜血。他想，如果他能“杀死这个可怕的生命灵魂”，“他就能得到平静”。他拿起刺伤霍尔沃德的刀，将照片割开。一声巨大的撞击声和一声叫喊，他的仆人冲上楼去寻找
So he muses, alone one night in his house, and decides to take another look at his portrait, which he finds not only looking ‘more loathsome, if possible, than before’ but shining with newly-spilt blood. If only he could ‘kill this monstrous life-soul’ he thinks, ‘he could be at peace’. He takes up the knife with which he stabbed Hallward, to slash the picture. There is a tremendous crash and a cry, and his servants rush upstairs to find
“墙上挂着一幅他们主人最后一次见到他时的精美肖像，他的青春和美丽令人惊叹不已。地板上躺着一个死人……心脏上插着一把刀。他面容枯槁，满脸皱纹，令人厌恶。直到他们检查了戒指后才认出那人是谁。
‘hanging on the wall, a splendid portrait of their master as they had last seen him, in all the wonder of his exquisite youth and beauty. Lying on the floor was a dead man ... with a knife in his heart. He was withered, wrinkled and loathsome of visage. It was not until they had examined the rings that they recognised who it was.’
卡门
Carmen
我们的下一个例子是比才的歌剧《卡门》的故事（1875），改编自普洛斯珀·梅里美的小说。当我们遇到英雄唐·何塞时，他是一名陆军下士，他爱上了一个害羞的年轻女孩米凯拉，而她也爱上了他。一切似乎都很好，但美丽而威严的卡门，一个典型的妖妇的到来，让我们感觉到有什么事情即将扰乱他们的幸福。她试图与何塞调情，一开始是徒劳的。她大步走开，但在她把一朵血红色的花扔到他脚边之前。犹豫片刻，他把它捡起来放在心口旁边。米凯拉回来了，何塞似乎摆脱了卡门的魔咒。然而不久之后，他在一场战斗后被派去恢复秩序。卡门已经卷入其中，他必须逮捕她。她再次将她所有的诱惑魅力转向他，这一次他彻底堕落了（“卡门，你迷住了我”）。诱惑赢了。已找到焦点。
Our next example is the story of Bizet’s opera Carmen (1875), based on a novel by Prosper Merimée. When we meet the hero Don José, a corporal in the army, he is in love with a shy young girl, Micaela, and she with him. All might seem well, but our sense that something is about to disturb their happiness is aroused by the entry of the beautiful and imposing Carmen, a classic Temptress. She tries to flirt with Jose, at first in vain. She stalks off, but not before she has thrown down a blood-red flower at his feet. Wavering for a moment, he picks it up and places it next to his heart. Micaela returns, and José seems freed from Carmen’s spell. A short time later, however, he is sent to restore order after a fight. Carmen has been involved and he has to arrest her. Once again she directs all her seductive charm at him, and this time he falls completely (‘Carmen you have bewitched me’). Temptation has won. The Focus has been found.
何塞鲁莽地跳入梦想舞台，让卡门逃脱，并将她拖到一家酒馆，在那里他们欣喜若狂地宣告了彼此的爱。何塞与他的一名军官为了卡门而卷入一场争斗，为了避免因不服从命令而受到惩罚，他抛弃了军队，逃到了山里，加入了卡门和一群强盗的行列。这种黑暗的行为一旦让何塞不可挽回地走上了他的道路，沮丧就开始了。善变的卡门开始对何塞失去兴趣，并将她的钦佩转移到英俊的斗牛士身上埃斯卡米洛。不幸的何塞感到越来越陷入困境。尽管年轻的米凯拉可怜地试图赢回他，但他现在无法回到以前的生活。他仍然迷恋卡门，尽管除了他自己之外，每个人都清楚他已经失去了她。
Plunging recklessly into the Dream Stage, José allows Carmen to escape and tollows her to a tavern, where they ecstatically declare their love for one another. José gets involved in a fight over Carmen with one of his officers, and to avoid punishment for insubordination he deserts the army and flees to join Carmen and a gang of bandits in the mountains. No sooner has this dark act committed José irrevocably to his course than frustration sets in. The fickle Carmen begins to lose interest in José and transfers her admiration to the handsome bullfighter Escamillo. The unhappy José feels increasingly trapped. He cannot now return to his former life, despite a pitiful attempt by young Micaela to win him back. He is still infatuated with Carmen, although it is becoming obvious to everyone except himself that he has lost her.
当何塞在山腰上遇到埃斯卡米洛时，他才意识到自己的困境是噩梦般的。斗牛士没有认出他，而是讲述了卡门曾经如何爱一名士兵，但一切都结束了。何塞猛烈攻击他的对手，两人不得不被强盗分开。胜利的埃斯卡米洛邀请他们所有人观看斗牛，他将成为当下的英雄。
The nightmarish nature of his plight is now brought home to him when José meets Escamillo coming up the mountainside. Not recognising him, the bull-fighter recounts how Carmen used to love a soldier but that it is all over. José lashes out at his rival and the two have to be pulled apart by the bandits. The triumphant Escamillo invites them all to a bullfight, in which he will be the hero of the hour.
剩下的就是最后阶段了。“苍白而憔悴”的何塞，他的眼睛“空洞”，“闪烁着危险的光芒”，他来到斗牛场与卡门对峙，卡门轻蔑地拒绝了他，并告诉他她现在爱着埃斯卡米洛。在最后的绝望中，何塞刺死了她——从而确保了他自己立即被捕，并可能被处决。
All that is left to unfold is the final stage. The ‘pale and haggard’ José, his eyes ‘hollow’ and ‘glowing with a dangerous light’, arrives at the bullfight to confront Carmen, who scornfully rejects him and tells him she now loves Escamillo. In the last paroxysm of desperation, José stabs her to death – thus ensuring his own immediate arrest and, presumably, execution.
邦妮和克莱德
Bonnie and Clyde
我们的第三个例子是电影《邦妮与克莱德》（Bonnie and Clyde，1967），与许多虚构的悲剧一样，它是根据“现实生活”中的一个情节改编的：在这个例子中，讲述的是 1930 年代两个臭名昭著的美国年轻“黑帮”的故事。
Our third example is the film Bonnie and Clyde (1967), based like many fictional tragedies on an episode from ‘real life’: in this instance the story of two notorious young American ‘gangsters’ of the 1930’s.
1.期待阶段：年轻的英雄克莱德来到德克萨斯州小镇的一所房子，业余地尝试偷一辆汽车。透过房子的窗户，他看到女主人公邦妮赤身裸体。她看到他显然在做一些疯狂而大胆的事情，他们互相激发了好奇心，他们在附近的一家药店聚会，邦妮在那里挑战克莱德实施真正的成人抢劫。这是诱惑与专注的时刻。
1. Anticipation Stage: the young hero Clyde arrives at a house in a little Texan town to make an amateurish attempt to steal a car. Through a window of the house he sees the heroine Bonnie, naked. She sees him, apparently doing something wild and daring, and their curiosity mutually aroused, they get together at a nearby drugstore where Bonnie dares Clyde to commit a real, grown-up robbery. This is the moment of Temptation and Focus.
2.梦想舞台：克莱德成功劫持了一家杂货店，邦妮感动不已，两人一起开车离开。他们开始抢劫银行，却似乎像做梦一样不受惩罚；他们招募了第三名成员 CW Moss 加入他们的团伙，一系列令人兴奋的抢劫仍在继续。但随后他们在一次银行劫持事件后开枪打死了一名警察，这一“黑暗行为”使他们作为杀人犯陷入了一个新的、更严重的联盟。
2. Dream Stage: Clyde successfully holds up a grocery store, Bonnie is impressed and they drive off together. They begin to rob banks with seemingly dreamlike impunity; they recruit a third member to their gang, C. W. Moss, and the exhilarating series of robberies continues. But then they shoot a policeman dead after a bank hold-up, a ‘dark act’ which places them, as murderers, in a new, more serious league.
3.沮丧阶段：一系列事件造成沮丧情绪加深。他们抓住了一名跟踪他们的警察，侮辱了他并释放了他，这样他就发誓要报仇。事实证明，克莱德在身体上无法与邦妮做爱：他通过对枪支的痴迷来发泄他的挫败感。他们劫持了一对夫妇的汽车，漫不经心地询问该男子以什么为生，他回答说他是一名殡仪员。邦妮反应歇斯底里，认为这是一个可怕的预兆。情绪逐渐变得阴暗、更具威胁性。
3. Frustration Stage: a series of incidents creates a mood of deepening frustration. They capture a policeman who has been trailing them, insult him and let him go, in such a way that he is left swearing revenge. It transpires that Clyde is physically unable to make love to Bonnie: he works out his frustration through his obsession with guns. They hi-jack a couple’s car, ask the man casually what he does for a living and he replies that he is an undertaker. Bonnie reacts hysterically, taking this as a terrible omen. The mood is becoming steadily darker and more threatening.
4.噩梦阶段：当这对注定要失败的夫妇以熟悉的方式（参见道林·格雷）幻想着逃回所有麻烦开始之前的纯真日子时，有一段短暂的虚幻插曲。他们带邦妮的妈妈去野餐克莱德谈到他们在她附近定居下来，过着安静的生活。但他们记得自己现在是该州头号通缉犯，除了继续逃跑别无选择。当他们被警察发现并不得不进行两场枪战时，噩梦变得更加严重，其中该团伙的两名成员（现已增加到五名）被杀或受伤。
4. Nightmare Stage: there is a brief unreal interlude when the doomed couple fantasise in familiar fashion (cf. Dorian Gray) of escaping back to the days of innocence before all their troubles began. They take Bonnie’s mother for a picnic and Clyde talks about their settling down near her, to live a quiet life. But they remember they are now the most wanted criminals in the state, and have no alternative but to keep running. The nightmare deepens as they are spotted by the police and have to fight two gun battles, in which two members of the gang (now grown to five) are killed or injured.
5.毁灭阶段：当警察逼近时，剩下的三人组，邦妮、克莱德和CW莫斯，到莫斯的父亲那里避难。他们之间的气氛现在充满了紧张和争吵。最终，为了换取对儿子宽大处理的承诺，父亲背叛了邦妮和克莱德，他们被骗第三次也是最后一次与警察发生冲突。他们无助又被困，惨遭枪杀。
5. Destruction Stage: as the police close in, the remaining trio, Bonnie, Clyde and C. W. Moss, take refuge with Moss’s father. The atmosphere between them all is now fraught and quarrelsome. Eventually, in return for a promise of leniency to his son, the father betrays Bonnie and Clyde, who are tricked into their third and final confrontation with the police. Helpless and trapped, they are bloodily gunned down.
朱尔斯和吉姆
Jules et Jim
我们的第四个例子是 20 世纪 60 年代的另一部著名电影，弗朗索瓦·特吕弗的《朱尔斯与吉姆》(1962)。
Our fourth example is another well-known film of the 1960’s, Francois Truffaut’s Jules et Jim (1962).
1.期待阶段：朱尔斯和吉姆，两个意气风发的年轻人，生活在第一次世界大战前的巴黎，他们充满了紧张的活力，但却缺乏方向，直到朋友阿尔伯特向他们展示了一些灯笼幻灯片，其中包括最近的一个女性雕像在亚得里亚海挖出来的。无声电影式的字幕告诉我们，他们从未见过像雕像上那样“平静、平静的微笑”，但如果他们再次看到它，“他们会跟随它”。这是他们幻想状态的焦点的开始，当三个奇怪的女孩不久之后出现在晚餐上时，他们看到第三个，凯瑟琳，有着与雕像一模一样的微笑。她是一个迷人的疯子，喜欢冲动的恶作剧，两位英雄都被迷住了。焦点已完成。
1. Anticipation Stage: Jules and Jim, two high-spirited young men in pre-First World War Paris are full of nervous energy but lack direction, until a friend, Albert, shows them some lantern slides, including one of a female statue recently dug up on the Adriatic. A silent film-type caption tells us that they had never seen such ‘a calm, tranquil smile’ as that which appears on the statue, but that if they saw it again ‘they would follow it’. It is the beginning of a Focus for their fantasy state, and when three strange girls shortly afterwards turn up for dinner they see that the third, Catherine, has exactly the smile of the statue. She is a bewitching madcap, given to impulsive pranks, and the two heroes are captivated. The Focus is complete.
2.梦想舞台：凯瑟琳搬来与朱尔斯住在一起，但三人变得形影不离，在波西米亚巴黎享受着疯狂的时光。当三人一起去法国南部避暑时，那种被卷入鲁莽、令人兴奋的梦想的感觉更加强烈。“经过长时间的寻找，他们找到了梦想中的房子”，标题写道。他们在阳光下一起玩幼稚的游戏，凯瑟琳总是领先。她说，“我认为我们是迷失的孩子”，标题告诉我们“她是一个幽灵”。他们返回巴黎，朱尔斯和凯瑟琳决定在那里结婚。
2. Dream Stage : Catherine moves in to live with Jules, but the three become otherwise inseparable, enjoying a mad time all over Bohemian Paris. The sense of being drawn into a reckless, exhilarating dream is heightened when the three go off to the South of France together for the summer. ‘After a long search they found the house of their dreams’ says a caption. Here they play childish games together in the sun, Catherine always leading. ‘I think we are lost children’ she says, and a caption tells us ‘she is an apparition’. They return to Paris, where Jules and Catherine decide to get married.
3、挫败阶段：故事的情绪逐渐灰暗。第一次世界大战临近，三人被迫分开，因为作为奥地利人的朱尔斯必须与妻子凯瑟琳一起回到战争造成的欧洲大鸿沟的另一边。敌对行动结束后，吉姆前往与他的朋友们团聚，他们和一个小女儿住在山上一座孤独的小屋里，但他发现婚姻并不顺利。他们在一起都很尴尬，说着陈词滥调，时而沉默。凯瑟琳独自睡觉（“我们过着修道院的生活”）；周围阴暗的森林和薄雾笼罩的湖泊和山脉使心情更加黯淡。他们的老朋友阿尔伯特以相当险恶、神秘的方式再次出现，住在附近（他是否与凯瑟琳？）。电影的主题曲《陀飞轮》 “漩涡”的介绍传达了他们可能都会陷入某种即将到来的漩涡的感觉。吉姆发现他无可救药地爱上了凯瑟琳本人。朱尔斯允许他搬进小屋，但也有警告：“小心”。
3. Frustration Stage : gradually the mood of the story darkens. The First World War approaches and the three are separated because Jules, as an Austrian, has to return with his wife Catherine to the other side of the great European divide created by the war. When hostilities are over, Jim travels to be reunited with his friends, who are living in a lonely chalet in the mountains with a little daughter, and finds all is not well with the marriage. They are all awkward together, talking in platitudes punctuated by silences; Catherine sleeping alone (‘we lead a monastic life’); and the mood is darkened still further by the surrounding gloomy forests and mist-shrouded lakes and mountains. Their old friend Albert reappears in rather sinister, enigmatic fashion, living nearby (is he having an affair with Catherine?). The sense that they may all be caught in some impending vortex is conveyed by the introduction of the film’s theme song Le Tourbillon, ‘the Whirlpool’. Jim finds he is slipping hopelessly into love with Catherine himself. Jules allows him to move into the chalet, though not without a warning: ‘watch out’.
4.噩梦阶段：随着三人返回法国，影片的动作变得越来越支离破碎，仿佛他们都在梦游，经历着一些莫名其妙的噩梦，其中有很多关于死亡的预兆。凯瑟琳变得越来越孤僻和神秘，带着狂喜的狂躁爆发，在两个男人之间穿梭（阿尔伯特最后一次不祥、神秘的出现）。吉姆为了逃离漩涡做出了最后的绝望尝试，他回到了他的老女友吉尔贝特身边，告诉凯瑟琳他想结婚生子。
4. Nightmare Stage : as the three of them return to France the action of the film becomes more and more fragmented, as if they are all sleepwalking through some baffling nightmare, with many premonitory references to death. Catherine, becoming ever more withdrawn and enigmatic, with manic outbursts of fey gaiety, shuttles between the two men (with Albert making a last ominous, mysterious appearance). Jim makes a last desperate bid to escape from the vortex by returning to his old girl friend Gilberte, telling Catherine that he wants to marry and have children.
5.毁灭阶段：凯瑟琳带着一种奇怪的、有目的的神情，召唤朱尔斯和吉姆开着她的小车去乡间兜风。他们在一家旅馆停下来吃午餐。她把吉姆叫到她的车上，故意把车开过一座断桥，驶入河里。两人都被淹死了，留下令人悲哀的不理解的朱尔斯监督将他们的棺材烧成灰烬。
5. Destruction Stage: Catherine, with a strangely purposeful air, summons both Jules and Jim for a drive in the country in her little car. They stop at an inn for lunch. She calls Jim to her car, and deliberately drives it over a broken bridge into the river. Both are drowned, leaving a sadly uncomprehending Jules to superintend the burning of their coffins to ashes.
安娜·卡列尼娜
Anna Karenina
对于完整的五阶段形式的悲剧的最后两个例子，我们可以考虑文学中两个最令人难以忘怀的悲剧女主人公的故事，托尔斯泰的安娜卡列尼娜和福楼拜的包法利夫人。
For two final examples of Tragedy in its full five-stage form we may consider the stories of two of the most haunting tragic heroines in literature, Tolstoy’s Anna Karenina and Flaubert’s Madame Bovary.
《安娜·卡列尼娜》的一千多页实际上讲述了两个故事，相互交织但又完全相反：莱文的故事和安娜本人的故事，每个故事都由截然不同的情节塑造。我们在这里将完全集中于安娜的故事。
The thousand-odd pages of Anna Karenina really tell two stories, interwoven but completely contrasting: that of Levin and that of Anna herself, each shaped by a quite different plot. We shall concentrate here entirely on the story of Anna.
当我们见到安娜时，她是圣彼得堡最美丽的女人之一，与一位德高望重的高级政府官员结婚多年。但生活在丈夫冷漠、知识分子高尚和对工作的全神贯注的阴影下，充满激情的安娜感到生活和心灵一片空白。在访问莫斯科期间，她在抵达火车站时短暂会见了一位英俊的年轻骑兵军官阿列克谢·渥伦斯基伯爵。在一次盛大的舞会上，他们再次相遇，两人都开始因强烈的相互吸引力而神魂颠倒。当他们第三次见面时，回到圣彼得堡，渥伦斯基感到“他所有的力量，迄今为止已经消散和分散”现在已经变得“以可怕的能量指向一个幸福的目标”。当安娜下次见面回到家时
When we meet Anna she is one of the most beautiful women in St Petersburg, married for some years to a senior and highly-esteemed government official. But living in the shadow of her husband’s dry, intellectual high-mindedness, and preoccupation with his work, the passionate Anna feels a void in her life and heart. On a visit to Moscow, she briefly meets on her arrival at the railway station a handsome young cavalry officer, Count Alexei Vronsky. At a grand ball, they run into each other again, and both begin to be swept off their feet by violent mutual attraction. When they meet a third time, back in St Petersburg, Vronsky feels that ‘all his powers, hitherto dissipated and scattered’ have now become ‘directed with terrible energy towards one blissful aim’. When Anna arrives home from their next encounter
“她的脸闪耀着生动的光芒，但这并不是一种欢乐的光芒——它就像黑夜里一场大火的可怕光芒。”
‘her face shone with a vivid glow, but it was not a joyous glow – it resembled the terrible glow of a conflagration on a dark night.’
他们相互的热情和期待感不断增强，直到最后他们做出了将他们联系在一起的不可挽回的举动：
Their mutual passion and sense of anticipation mount until at last they perform the irrevocable act which binds them together:
“近一年来，渥伦斯基唯一的、排他的愿望取代了他以前的所有愿望，但对安娜来说，这是一个不可能的、可怕的、但更迷人的幸福梦想，现在已经实现了。”
‘That which for nearly a year had been Vronsky’s sole, exclusive desire, supplanting all his former desires, but which for Anna had been an impossible, dreadful, but all the more bewitching dream of happiness, had come to pass.’
坚定地进入了梦想舞台，他们继续或多或少地秘密相遇，在一系列的激情邂逅中。但其他人，包括日益冷漠、不满的卡列宁，已经对正在发生的事情产生了一些怀疑。人们开始议论纷纷，“等待丑闻曝光”；赛马场上发生的一件令人情绪激动的事件，加剧了人们对最终灾难的预感。当时，弗龙斯基在障碍赛中领先他美丽的英国母马弗鲁弗鲁，犯了一个愚蠢的错误，迫使他的马绊倒，因此她不得不被毁：
Firmly into the Dream Stage, they continue to meet more or less secretly, in a series of passionate encounters. But already others, including the increasingly chilly, unhappy Karenin, have some suspicion of what is going on. Tongues begin to wag, ‘waiting for the scandal to break’; and the premonition of some ultimate disaster is heightened by an emotionally fraught incident at the race course when Vronsky, leading in a steeplechase on his beautiful English mare Frou-Frou, makes a stupid error, forcing his horse to stumble so that she has to be destroyed:
“他一生中第一次经历了最严重的不幸——一种无法挽回的不幸，而且是由他自己的过错造成的。”
‘for the first time in his life he experienced the worst kind of misfortune – one that was irretrievable, and caused by his own fault.’
安娜和渥伦斯基都做了同样可怕的梦，梦到“一个留着粗糙胡须的农民，小而可怕”，在麻袋里摸索着，用法语自言自语着“殴打”和“铁”：故事逐渐展开达到第一个伟大的高潮。安娜怀孕了，当她生下一个女婴时，她患上了产褥热，病得很厉害。她以为自己快要死了，在精神错乱中，她告诉丈夫她如何感觉自己被分成了两个人：
Both Anna and Vronsky have the same terrible dream, of ‘a peasant with a rough beard, small and dreadful’, fumbling in a sack and muttering to hImself in French about ‘battering’ and ‘iron’: and gradually the story is drawn up to its first great climax. Anna has become pregnant and as she is delivered of a baby girl she falls desperately ill of puerperal fever. Thinking she is about to die, in her delirium she tells her husband how she has felt divided into two people:
“我还是老样子……但我心里还有另一个人，我害怕她。” 是她爱上了另一个人，我想恨你，却无法忘记以前的她。另一个人不是我。现在我是真正的我，是我的全部。
‘I am still the same ... but there is another in me as well, and I am afraid of her. It was she who fell in love with that other one, and I wished to hate you, but could not forget her who was before. That other is not I. Now I am the real one, all of me.’
垂死的安娜和卡列宁似乎已经和解了。渥伦斯基绝望地摔倒并试图开枪自杀。不管故事多么混乱，看起来似乎已经接近尾声了。但从更深层次来说，仍有太多问题尚未解决。安娜和渥伦斯基分别康复。安娜旧日致命的渴望又回来了。她屈服了，永远离开了她的丈夫，不可挽回地与渥伦斯基结下了不解之缘。
The dying Anna and Karenin appear to be reconciled. Vronsky stumbles off in despair and attempts to shoot himself. It might seem that the story was, however messily, approaching a conclusion. But, at a deeper level, too much is still unresolved. Anna and Vronsky separately recover. Anna’s old fatal yearnings return. She succumbs and leaves her husband forever, to throw in her lot irrevocably with Vronsky.
在故事的这个转折点，托尔斯泰以《圣经》中的引言“复仇在我；我会报答的。” 渥伦斯基和现在完全妥协的安娜逃离俄罗斯前往意大利：
At this turning point in the story, Tolstoy opens Book Two with the biblical quotation ‘Vengeance is mine; I will repay’. Vronsky and the now-totally compromised Anna flee from Russia for Italy:
“在这第一次自由和快速康复的时期，安娜感到无比的幸福，充满了生活的乐趣……”
‘During this, the first period of her freedom and rapid recovery, Anna felt unpardonably happy and full of the joy of life...’
在经历了病魔的噩梦之后，这一切看起来似乎是一个新的梦想阶段，但当我们在书的结尾回顾整个故事时，我们可以看到这段动荡的中心时期实际上标志着她的挫败阶段。事务。安娜与卡列宁的和解失败，是她抹去所发生的一切的最后一次尝试。她与渥伦斯基的私奔是最后的“黑暗行为”，这让她面临着最终的命运。
It might all seem like a new Dream Stage, after the nightmare of her illness, But when, at the book’s ending, we look back over the whole story, we can see how this central period of turmoil in fact marks the Frustration Stage of the affair. Anna’s abortive reconciliation with Karenin is her last attempt to erase all that had happened. Her running away with Vronsky is the final ‘dark act’ which commits her to her ultimate fate.
事实上，即使他们刚刚抵达意大利，渥伦斯基现在已经因为自己的热情而放弃了自己的职业生涯：
Indeed even when they are newly arrived in Italy, Vronsky, who has now thrown up his career for his passion:
很快他就感到，他的渴望的实现只给他带来了他所期待的极乐之山的一粒颗粒。这一认识向他表明了人们所犯的永恒错误，即认为幸福在于满足自己的愿望。
‘soon felt that the realisation of his longing gave him only one grain of the mountain of bliss he had anticipated. That realisation showed him the eternal error men make by imagining that happiness consists in the gratification of their wishes.’
渥伦斯基开始感到无聊和漫无目的，过了一会儿他们就回到了俄罗斯。安娜几乎在不知不觉中开始感觉到她的爱人正在远离她，并越来越迷恋她不得不留下的小儿子塞廖沙。她被拒绝见他，但乔装打扮潜入卡列宁的房子，设法与他进行了短暂的会面。正如我们所知，在她的儿子身上，“安娜所有未满足的爱的能力都得到了满足”，这是她失去的一切的令人心碎的一瞥。然后，她把所有的精力投入到一场持久战中，争取让卡列宁准许她离婚，这样她就可以嫁给渥伦斯基：这是为巩固她现在迅速摇摇欲坠的地位而进行的最后一次可怜的尝试。一切都以失败告终。渥伦斯基对她越来越冷淡。她成为对他与其他女人的关系的各种嫉妒想象的牺牲品。他们陷入无休止的争吵。安娜感到越来越失落和绝望，第一次考虑自杀。她又做了关于那个小老农的噩梦，他似乎正在用铁对她做一些可怕的事情。在与渥伦斯基发生最后一次微不足道的误会后，安娜开车穿过莫斯科，她的脑子里充满了无关紧要的想法。她几乎没有意识到自己在做什么，就到达了她和渥伦斯基第一次见面的车站，突然一冲动，她跳进了迎面而来的火车的车轮下：似乎正在用铁对她做一些可怕的事情。在与渥伦斯基发生最后一次微不足道的误会后，安娜开车穿过莫斯科，她的脑子里充满了无关紧要的想法。她几乎没有意识到自己在做什么，就到达了她和渥伦斯基第一次见面的车站，突然一冲动，她跳进了迎面而来的火车的车轮下：似乎正在用铁对她做一些可怕的事情。在与渥伦斯基发生最后一次微不足道的误会后，安娜开车穿过莫斯科，她的脑子里充满了无关紧要的想法。她几乎没有意识到自己在做什么，就到达了她和渥伦斯基第一次见面的车站，突然一冲动，她跳进了迎面而来的火车的车轮下：
Vronsky begins to feel bored and aimless, and after a while they return to Russia. Anna almost imperceptibly begins to feel her lover withdrawing from her and becomes increasingly obsessed with the little son Seryosha she has had to leave behind. She is refused permission to see him, but manages to snatch a brief meeting with him by penetrating Karenin’s house in disguise. As we are told that, upon her son ‘all Anna’s unsatisfied capacity for loving was satisfied’, it is a heartrending glimpse of all she has lost. She then throws all her energies into a protracted battle to get Karenin to grant her a divorce, so that she can marry Vronsky: a last pitiful attempt to make her now rapidly crumbling position secure. All ends in failure. Vronsky is becoming more and more openly cold towards her. She becomes prey to all sorts of jealous imaginings about his relations with other women. They fall to endless quarrelling. Feeling increasingly lost and desperate, Anna for the first time contemplates suicide. She again has her nightmare about the little old peasant, who seems to be doing something terrible to her with iron. After a final trivial misunderstanding with Vronsky, Anna drives across Moscow, her mind whirling with inconsequential thoughts. Almost without being aware of what she is doing, she arrives at the station where she and Vronsky first met, and on a sudden impulse throws herself under the wheels of an oncoming train:
“一个小农夫嘀咕着什么东西正在铁轨上工作。原本她借着那本充满焦虑、欺骗、悲痛和邪恶的书的烛光，燃起了比之前更加明亮的光芒，照亮了她之前的一切黑暗，闪烁，开始变得暗淡。 ，并永远出去了。
‘a little peasant muttering something was working at the rails. The candle, by the light of which she had been reading that book filled with anxieties, deceptions, grief and evil, flared up with a brighter light than before, lit up for her all that had before been dark, flickered, began to grow dim, and went out for ever.’
包法利夫人
Madame Bovary
就我们所看到的模式而言， 《包法利夫人》可能给我们留下深刻印象的一件事是，在女主人公最终走上不忠之路并最终摧毁她之前，我们对故事的了解有多深。在《安娜·卡列尼娜》中，女主人公内心的不安被巧妙地表达出来，这让她对自己的伟大激情敞开心扉，在故事开始的短时间内，她就已经进入了与渥伦斯基致命恋情的令人兴奋的早期阶段。在《包法利夫人》中然而，漫长的预期阶段持续了近一半的时间。这尤其是因为福楼拜的大部分意图是要展示艾玛对刺激和浪漫的致命渴望是如何在她阅读浪漫小说的推动下在很长一段时间内在她的脑海中积聚起来的，然后才最终被吸引到现实中去表现出来。生活。
In terms of the pattern we are looking at, one of the things which may strike us about Madame Bovary is how far we are into the story before the heroine finally becomes committed to the course of infidelity which ultimately destroys her. In Anna Karenina the heroine’s inner restlessness which lays her open to her grand passion is deftly stated and she is already embarked on the heady early stages of the fatal affair with Vronsky within a short while of the story’s opening. In Madame Bovary, however, the long-drawn out Anticipation Stage lasts for nearly half the book. This is not least because so much of Flaubert’s intention is to show how Emma’s fatal craving for excitement and romance builds up over a long period in her head, fuelled by her reading of romantic fiction, before she is finally drawn to act it out in real life.
为了做好铺垫，我们首先要看到年轻的艾玛嫁给了有限而没有野心的乡村医生查尔斯·包法利：这对她内心对激情的渴望来说是一个不完整的答案，就像卡列宁对安娜的答案一样。当发现自己结婚的最初喜悦消退时，远处危险的警告信号开始出现正如福楼拜所说，聚集就像小溪流几乎不知不觉地聚集在一起，形成最终不可抗拒的洪流：
To set the stage we first have to see the young Emma married to the limited and unambitious country doctor Charles Bovary: as incomplete an answer to her inward craving for passion as Karenin was for Anna. When the first pleasure of finding herself married wears off, the warning signs of distant danger begin to gather, as Flaubert puts it, like tiny rivulets gathering almost imperceptibly to make an eventually irresistible torrent:
“艾玛努力寻找生活中的快乐、激情、陶醉这些词到底代表着什么，而这些词在书本上总是显得那么美好。”
‘Emma tried hard to discover what, precisely, it was in life that was denoted by the words joy, passion, intoxication, which had always looked so fine in books.’
当艾玛被邀请去当地的大房子时，她会因为与这些时尚、有头衔的人打交道的短暂机会而感到兴奋：明亮而神秘的“另一个世界”正在向她招手。几个月，甚至几年过去了，我们被告知“她心中的空虚依然存在”，“在她内心深处，她一直在等待着什么事情发生”。但即使查尔斯和艾玛因为她的焦躁不安而不必要地搬到了永维尔，而且她发现自己因与年轻的法律系学生莱昂的谈话而感到异常兴奋，但表面上并没有做出任何承诺。她的梦想和愿望仍然只存在于她的脑海中。直到莱昂动身前往鲁昂，艾玛才遇到了迷人的人，当地农民鲁道夫（Rodolphe）沉迷于女性，她体内沸腾的黑暗预期神经能量终于找到了焦点。两人展开了一段充满激情的秘密恋情。艾玛已经做出了不可挽回的行为，这将使她走上致命的道路
There is the excitement of the invitation to the local great house, when Emma is swept off her feet by the brief chance to mingle with such fashionable, titled people: the bright mysterious ‘other world’ which is beckoning her on. As months, even years go by, we are told that ‘the void in her heart remained’, that ‘deep down in her heart she was waiting and waiting for something to happen’. But even when, thanks to her restlessness, Charles and Emma make the quite unnecessary move to Yonville, and she finds herself strangely exhilarated by her conversations with the young law student Leon, nothing is outwardly committed. Her dreams and desires are still only in her head. It is only when Leon leaves for Rouen and Emma meets the attractive, womanising local farmer Rodolphe that the dark anticipatory nervous energy seething within her at last finds its Focus. The two embark on a passionate secret affair. Emma has committed the irrevocable act which is to launch her on her fatal course
梦想舞台的持续时间与鲁道夫的秘密恋情一样长：
The Dream Stage lasts as long as the secret affair with Rodolphe:
“包法利夫人从来没有像现在这样美丽过。她披着一种难以形容的可爱，这种可爱来自欢乐、热情、成功，是气质与外在环境的完美和谐所产生的。
‘Never had Madame Bovary looked so beautiful as now. She went clothed in that indefinable loveliness which comes of joy, enthusiasm, success, and is produced by the perfect harmony of temperament and outward circumstances.’
当艾玛计划与她的情人私奔并永远离开她被鄙视、“令人厌恶”的丈夫时，事情达到了顶峰。但就在她即将离家的时候，挫折阶段却如晴天霹雳般降临。鲁道夫 (Rodolphe) 的留言：
It reaches its height when Emma lays plans to elope with her lover and leave her despised, ‘repulsive’ husband forever. But on the very verge of her leaving home, the Frustration Stage arrives like a thunderbolt. A note comes from Rodolphe:
“你有没有仔细权衡过你打算采取的行动的后果？” 你意识到我把你拖向了多么可怕的深渊吗，可怜的天使？不，……你继续前进，自信而漫不经心，想象着一切都会好起来，相信未来。
‘have you carefully weighed the consequences of your intended action? Have you realised the awful abyss to which I was dragging you, poor angel? No, ... you were going on, confident and heedless, imagining that all would be well, trusting in the future.’
她的爱人不会和她私奔。他从来没有把她当成一个随随便便结婚的情妇。他们的“心灵盛事”只存在于她的脑海中，是她的幻想中的虚构。艾玛非常震惊，病重地躺了几个月。最后，她的丈夫带她去鲁昂短暂度假，试图重建他们的婚姻，这是最后一次可悲的尝试。就像卡列宁和他的妻子在故事的相似阶段之间脆弱的和解一样，这是注定要失败的。因为正是在这里，在剧院，艾玛再次遇见了莱昂。故事的结尾部分就像《安娜·卡列尼娜》第二卷（“复仇在我”）一样，以一种可怕的预感开始。
Her lover is not going to elope with her. He had never thought of her as anything but a conveniently married mistress. Their ‘grand affair of the heart’ had only been in her head, a figment of her fantasy. Emma is so shocked that for several months she lies seriously ill; at the end of which her husband makes a last pathetic attempt to re-establish their marriage by taking her off on a brief holiday to Rouen. It is as doomed as the fragile reconciliation between Karenin and his wife at a similar stage in their story. For it is here, at the theatre, that Emma once again meets Leon. The concluding part of the story opens, like Book Two of Anna Karenina (‘vengeance is mine’), on a note of dire foreboding.
首先，当安娜和渥伦斯基逃往意大利时，梦想舞台最后出现了忙碌的回声，艾玛和莱昂以最戏剧性和最鲁莽的方式开始了他们的肉体关系，在意大利日光照射下的街道上绕了一圈又一圈。鲁昂陷入一片黑暗之中。艾玛开始寻找借口，比如想象中的钢琴课，越来越频繁地访问鲁昂。她开始不顾一切地向无良的勒勒先生借钱。就像安娜一样，和她一起这是留着胡子的小农人经常做的噩梦，艾玛在访问鲁昂时，被一个丑陋的乞丐的景象所困扰（“在他眼睑本应所在的地方，两个张开的空洞充满了血”），他的哭声变得“纯粹”如同深渊中的旋风一样，深入她的灵魂深处。她在关于钢琴课的“封面故事”中差点被查尔斯抓住，并添加了一个谎言（“从那一刻起，她的整个存在就是一个谎言迷宫”）。她越来越深地陷入勒勒先生的债务之中。甚至她与莱昂的关系也变得越来越令人担忧和争吵，因为“每天都看到她要求更疯狂的音乐和更烈性的葡萄酒”。像许多悲剧英雄和女英雄一样，她梦想着在网络开始逼近之前，她可以逃回到更快乐、更纯真的时代。
To begin with, as when Anna and Vronsky flee to Italy, there is a last hectic echo of the Dream Stage, as Emma and Leon embark on their physical affair in the most dramatic and reckless way possible, driving round and round the daylit streets of Rouen in a darkened fiacre. Emma begins to find excuses, such as an imaginary course of piano lessons, to visit Rouen more and more often. She begins to borrow money recklessly from the unscrupulous M. Lheureux. Like Anna, with her recurrent nightmare of the little bearded peasant, Emma becomes haunted on her visits to Rouen by the sight of a hideous beggar (‘in the place where his eyelids should have been, two gaping cavities all filled with blood’) whose wailing cries go ‘sheer down into the depths of her soul like a whirlwind in a chasm’. She is very nearly caught out by Charles in her ‘cover story’ about the piano lessons and adds one deceit to another (‘from that moment her whole existence was a maze of lies’). She becomes more and more enmeshed in her tangle of debt to M. Lheureux. Even her relations with Leon become increasingly fraught and quarrelsome, as ‘every day saw her calling for madder music and stronger wine’. Like so many tragic heroes and heroines, she dreams that she might escape back to happier, more innocent times, before the net began closing in. But the Nightmare Stage is inexorably nearing its climax:
“她现在总是感到沮丧，无处不在，对每件事都如此。所有的一切、每个人，包括她自己，都让她无法忍受。
‘She was now always depressed, everywhere and about everything. Everything and everyone, herself included, was intolerable to her.’
最后，勒勒女士取消了抵押品赎回权，并接受了一笔赔偿金的判决，其中包括出售她和查尔斯拥有的一切。她心烦意乱地跑向任何她能想到的借钱对象，最终找到了鲁道夫。当他把她拒之门外时，她走向药剂师存放毒药的橱柜，并服用了大剂量的砒霜。她最后梦见了来自鲁昂的乞丐，
Finally M. Lheureux forecloses, getting judgment for a sum of money that will involve selling everything she and Charles possess. Distractedly she runs to anyone she can think of to borrow from, ending up with Rodolphe. When he turns her away, she heads for the cupboard where the pharmacist keeps his poisons and takes a huge dose of arsenic. She has a final nightmare vision of the beggar from Rouen,
“她以为她看到了这个可怜人的丑陋面容，在永夜即将来临之际，它的出现给她的灵魂带来了恐惧”
‘thinking she saw the hideous features of the wretched being, rising up to strike terror to her soul, on the very threshold of eternal night’
并在痛苦中死去。一段时间后，破产的查尔斯因她的死而破产并变成了幽灵，也去世了。
and dies in agony. Sometime later the bankrupt Charles, ruined and turned into a wraith by her death, also dies.
朱利叶斯·凯撒、安东尼和克利奥帕特拉
Julius Caesar, Antony and Cleopatra
在这个忧郁的基调上，我们可以结束对故事的介绍性调查，这些故事完整地呈现了悲剧的五个阶段周期，然后继续讨论那些仅集中于最后阶段的故事——包括世界上一些最著名的悲剧故事。循环的一部分，可以说是在中途捡起来的。在我们所看到的故事展开之前，最初的阶段就已经结束了，只能通过闪回和同情想象来重建。
On this sombre note we may conclude this introductory survey of stories which present the five-stage cycle of Tragedy in its entirety and move on to those – including some of the best-known tragic stories in the world – which concentrate only on the concluding phases of the cycle, picking it up, as it were, halfway through. The initial stages are already over before the story, as we see it, opens, and can only be reconstructed by means of flashback and sympathetic imagination.
当我们比较莎士比亚、凯撒大帝和安东尼与克利奥帕特拉的两部悲剧时，我们可以清楚地看出这两种悲剧之间的区别。第一个是我们已经熟悉的类型，描绘了完整的五阶段模式。从这个意义上说，凯撒大帝本质上是布鲁图斯的悲剧。当阴谋者聚集在预期阶段时，必须说服他，“他们中最高贵的罗马人”，加入刺杀凯撒的阴谋。在第二幕第一场中，我们在布鲁图斯的灵魂中看到了诱惑之战的上演，当时其他同谋者在首席坦普特·卡西乌斯的带领下，在晚上拜访了他。当他最终屈服时，焦点已经被发现接下来是梦幻舞台，包括刺杀本身的“黑暗行为”，布鲁图斯作为阴谋者发动了最后的致命一击，以及令人兴奋的后果，当时罗马人民似乎已经准备好迎接凯撒被谋杀作为推翻野心勃勃的暴君。但随后挫折阶段开始了，马克·安东尼的雄辩提出了对凯撒作为人民的朋友的截然不同的看法。人群开始反对阴谋者。他们被迫逃离罗马，我们看到安东尼、奥克泰维斯和莱必达三巨头掌握了全部权力，集结军队为凯撒报仇。噩梦舞台展示了阴谋者们在逃亡并开始内讧，布鲁图斯被凯撒的鬼魂追赶；这在腓立比的彻底推翻中达到顶峰，
We can see the difference between these two types of Tragedy clearly illustrated when we compare two of the tragedies of Shakespeare, Julius Caesar and Antony and Cleopatra. The first of these is of the type with which we are already familiar, portraying the complete five-stage pattern. In this sense Julius Caesar is essentially the tragedy of Brutus. It is he, ‘the noblest Roman of them all’, who has to be persuaded, as the conspirators gather together in the Anticipation Stage, to join the plot to kill Caesar. It is in Brutus’s soul that we see the battle of temptation acted out, in Act II Scene i, when the other conspirators, led by the chief Tempter Cassius, call on him at night. When he finally succumbs, the Focus has been found and the Dream Stage follows, including the ‘dark act’ of the assassination itself, with Brutus as the conspirator who strikes the last fatal blow, and the heady aftermath, when it seems that the people of Rome are prepared to welcome Caesar’s murder as the overthrow of an over-ambitious tyrant. But then the Frustration Stage begins, when the eloquence of Mark Antony presents a very different view of Caesar, as the people’s friend. The crowd begins to turn against the conspirators. They are forced to flee from Rome and we see the triumvirate of Antony, Octavius and Lepidus assuming full authority, gathering their forces to avenge Caesar’s death. The Nightmare Stage shows the conspirators on the run and beginning to fall out among themselves, with Brutus pursued by Caesar’s ghost; and this culminates at Philippi in their total overthrow, first with the death of Cassius and finally Brutus’s suicide.
在《安东尼与克利奥帕特拉》中，我们看到故事的重点完全不同。情况的本质是，伟大的战士安东尼被夹在两极之间：一方面，他的职责，他作为罗马三巨头之一的男子气概的责任；另一方面，他的责任，他作为罗马三巨头之一的男子气概。另一方面，他的快乐，他对埃及女王的极度迷恋。该剧的基本问题，从其开场白中提出（“不，但我们将军的这种衰老超出了衡量标准……世界的三重支柱变成了妓女的傻瓜”）是：哪一杆会获胜？
In Antony and Cleopatra, we see the emphasis of the story falling quite differently. The essence of the situation is that the great soldier Antony has been caught between two poles: on the one hand his duty, his manly responsibilities as one of the triumvirs of Rome; on the other, his pleasure, his all-consuming infatuation with the Queen of Egypt. The basic question of the play, posed from its opening lines (‘Nay, but this dotage of our general’s overflows the measure ... the triple pillar of the world transform’d into a strumpet’s fool’) is: which pole will win?
重点是我们在中途开始讲述安东尼对克利奥帕特拉致命的爱情的故事。他已经开始了自我毁灭的循环，这将在我们的故事开始之前就让他垮台。事实上，我们可以重建他被抓的那一刻，即焦点时刻，在剧中最令人难忘的演讲之一中，埃诺巴布斯回忆起这位严厉的英雄抵达埃及时第一次看到性感妖女的情景：
The point is that we pick up the story of Antony’s fatal love for Cleopatra halfway through. He has already embarked on the cycle of self-destruction which is to bring him down long before our story opens. Indeed we can reconstruct the moment when he was caught, the moment of Focus, when, in one of the play’s most memorable speeches, Enobarbus recalls the occasion when the stern hero first set eyes on the voluptuous Temptress, on his arrival in Egypt:
“她坐的驳船，就像一个在水面上燃烧的锃亮的王座……”
‘the barge she sat in, like a burnish’d throne burned on the water....’
从那里开始，梦想舞台随之而来，安东尼陷入与克利奥帕特拉的风流韵事，并开始在无尽的狂欢之夜中忘记自己的军人责任。但最终，一系列对罗马安全的威胁，例如叛逆的年轻庞培所构成的威胁，提醒了安东尼乌斯他的责任。一种挫败感已经出现，直到此时，当安东尼被召回“真正的罗马自我”时，戏剧才开始。
From there the Dream Stage follows, as Antony plunges into his affair with Cleopatra and begins to forget his soldierly responsibilities in endless nights of carousing. But eventually a series of threats to the security of Rome, such as that posed by the rebellious young Pompey, serve to remind Antony of his duty. An element of frustration has appeared, and it is only at this point, when Antony is being called back to his ‘proper Roman self’, that the play begins.
就悲剧的完整五个阶段循环而言，简而言之，该剧是在失意阶段展开故事。前两幕展示了英雄——就像安娜·卡列尼娜在她的故事中的类似阶段，当她试图与丈夫进行最后的和解时——做出最后的努力，返回罗马与奥克泰维斯会合，并回到罗马的自我。雷必达与庞培打交道。为了强调他与过去决裂并重新开始的决心，安东尼甚至娶了奥克泰维斯的妹妹。但是，正如渥伦斯基未解决的诱惑对安娜来说太过分一样，克利奥帕特拉的致命诱惑也太强大了。安东尼返回埃及，与奥克泰维斯进行最后的对抗。接下来是亚克兴战役，噩梦阶段的开始，正当安东尼认为胜利已在他掌握之中时，克利奥帕特拉率领她的船只急速撤退，将这一天让给了屋大维。屋大维追击安东尼乌斯到埃及，发生了第二次战斗，其中安东尼再次看到胜利被克利奥帕特拉军队的逃跑夺走了。第三，安东尼与克利奥帕特拉闹翻，斥责她的背叛。她向他传达了自己自杀的消息，他在绝望中自杀了。最后，当克利奥帕特拉看到自己愚蠢的“女性”诡计所带来的后果时，她自杀了。
In terms of the complete five-stage cycle of Tragedy, in short, the play picks up the story at the Frustration Stage. The first two acts show the hero – rather like Anna Karenina at a similar stage in her story, when she attempts a last reconciliation with her husband – making a final effort to return to his Roman self, by going back to Rome to join Octavius and Lepidus in dealing with Pompey. To emphasise his determination to break with the past and make a fresh start, Antony even marries Octavius’s sister. But, just as the unresolved lure of Vronsky had proved too much for Anna, the fatal lure of Cleopatra is too strong. Antony returns to Egypt, throwing him into final opposition to Octavius. There follows the battle of Actium, the beginning of the Nightmare Stage, when just as Antony thinks victory is in his grasp, Cleopatra leads her ships into headlong retreat, giving the day to Octavius. Octavius pursues Antony to Egypt and there is a second battle, in which again Antony sees victory torn from his grasp by the flight of Cleopatra’s forces. Thirdly Antony falls out with Cleopatra, berating her for her treachery. She sends him word that she has killed herself, and in despair he commits suicide. Finally, when she sees what she has brought about by her foolish ‘feminine’ wiles, Cleopatra commits suicide herself.
唐璜
Don Giovanni
我们在挫败舞台上听到的另一个熟悉的悲剧故事是莫扎特和达庞特的《唐璜》，源自莫里哀的版本，源自原版《唐璜》戏剧《塞维利亚的布尔拉多》，作者为化名“Tirso de Molina”。唐璜作为一个贪得无厌、无情的诱惑者的鲁莽生涯显然早在故事开始之前就已经开始了。事实上，当唐乔瓦尼的仆人莱波雷洛背诵他主人的征服目录（包括仅在西班牙的“1003”）时，很明显，当英雄“逃脱惩罚”时，冒险的梦想阶段必须持续多久已经持续了。但随着歌剧的开始，唐璜第一次遇到了严重的麻烦。他正在着手进行一系列的事件，这些事件首先会让他陷入越来越强烈的挫败感，并最终摧毁他。在开场场景中，我们看到他最近一次尝试征服，唐娜·安娜（与唐·奥塔维奥订婚）挣扎着摆脱他。她的父亲，司令官介入，唐璜杀死了他：致命的“黑暗行为”将导致他的垮台。从那时起，整个故事就展现了主人公陷入了一张不断收紧的挫败之网，因为他被自己致命的弱点所驱使，结果却在他周围激起了越来越多的反对者大军。他试图乔装打扮引诱一名女子，却发现她是他以前的征服者之一唐娜·埃尔维拉（Donna Elvira），而他们却被他残忍地抛弃在一边，这让他们都感到恐惧。他试图勾引年轻漂亮的农家姑娘泽琳娜，不仅因唐娜·埃尔维拉的介入而受挫，还激起了泽琳娜的未婚夫马塞托的报复之怒。他现在正在追踪马塞托和唐娜·安娜的未婚夫唐·奥塔维奥。他甚至一度与迄今为止唯一对他保持忠诚的人莱波雷洛闹翻。唐璜最后一次孤注一掷地试图引诱唐娜·埃尔维拉的女仆，但再次失败。现在每个人都在与他作对，这是典型的噩梦阶段的追求。就在此时，逃进墓地的唐璜发现自己面对着司令官的冷酷雕像，他似乎在对他说话，就像在某种噩梦般的幻觉中。他嘲笑地邀请雕像共进晚餐，并惊讶地听到雕像接受了。最后，当他坐在餐桌旁时，雕像进来了。经过一场可怕的交锋后，地狱之火在黑暗中熊熊燃烧，受害者的幽灵雕像将唐璜带向了灭亡。逃进墓地后，唐璜发现自己面对着司令官的冷酷雕像，他似乎在对他说话，就像在某种噩梦般的幻觉中。他嘲笑地邀请雕像共进晚餐，并惊讶地听到雕像接受了。最后，当他坐在餐桌旁时，雕像进来了。经过一场可怕的交锋后，地狱之火在黑暗中熊熊燃烧，受害者的幽灵雕像将唐璜带向了灭亡。逃进墓地后，唐璜发现自己面对着司令官的冷酷雕像，他似乎在对他说话，就像在某种噩梦般的幻觉中。他嘲笑地邀请雕像共进晚餐，并惊讶地听到雕像接受了。最后，当他坐在餐桌旁时，雕像进来了。经过一场可怕的交锋后，地狱之火在黑暗中熊熊燃烧，受害者的幽灵雕像将唐璜带向了灭亡。
Another familiar tragic story we pick up at the Frustration Stage is that of Mozart and Da Ponte’s Don Giovanni, derived via the version by Molière from the original ‘Don Juan’ play, the Burlador de Sevilla, by the pseudonymous ‘Tirso de Molina’. Don Giovanni’s reckless career as an insatiable and heartless seducer has obviously begun long before the story opens. Indeed, when Don Giovanni’s servant Leporello recites a catalogue of his master’s conquests (including the ‘1003’ in Spain alone), it is clear just how long the Dream Stage of the adventure, when the hero was ‘getting away with it’, must have lasted. But as the opera begins, Don Giovanni is for the first time beginning to ran into serious trouble. He is embarking on a sequence of events which will first drive him into a mounting frenzy of frustration and ultimately destroy him. In the opening scene we see his latest attempted conquest, Donna Anna (who is engaged to Don Ottavio) struggling to get away from him. Her father, the Commendatore, intervenes and Don Giovanni kills him: the fatal ‘dark act’ which is going to be his downfall. From then on the whole story shows the hero getting enmeshed in an ever-tightening web of frustration, as he is driven on by his fatal weakness and only succeeds in arousing around him an ever-growing army of opponents. He attempts to seduce a woman in disguise, only to find to their mutual horror that she is one of his former conquests, Donna Elvira, whom he had cruelly thrown aside. He attempts to seduce the pretty young peasant girl Zerlina, and not only is frustrated by the intervention of Donna Elvira but also arouses the vengeful wrath of Zerlina’s betrothed, Masetto. He now has on his trail both Masetto and Donna Anna’s betrothed, Don Ottavio. He even falls out for a time with the only person who has hitherto always remained faithful to him, Leporello. Don Giovanni makes a last desperate attempt to seduce Donna Elvira’s maid and is again frustrated. Everyone is now set against him, in a typical Nightmare Stage pursuit. And it is at this moment that, having fled into a graveyard, Don Giovanni finds himself confronted with the grim statue of the Commendatore, who seems, as in some nightmarish hallucination, to be addressing him. Mockingly he invites the statue to dinner and is horrified to hear it accept. Finally when he is sitting down to his supper table, the statue enters. After a terrifying exchange, the fires of hell blaze up in the darkness and the ghostly statue of his victim carries Don Giovanni off to his doom.
魔鬼队
The Devils
我们通过看一个故事来结束本章，这个故事在悲剧情节的基本形态上呈现出微妙的变化，尤其是因为它混合了两种形式：我们一直在看的情节：陀思妥耶夫斯基关于十九世纪末革命前俄罗斯社会和精神崩溃的伟大预言小说《魔鬼》（或《群魔》））。很长一段时间以来——一本700页的书中有近400页——我们并不完全清楚是什么情节在塑造叙事，甚至这本书是否有明确定义的情节。但当情节最终浮现出来时，我们发现这部小说在某种程度上如此令人费解的原因之一是它是由两个截然不同但又相互交织的悲剧组成，最终聚合在一起。第一个是集体悲剧，涉及一大群人，这个预期阶段很长，占据了全书的大部分内容。另一个是成为故事“黑暗英雄”的人物尼古拉·斯塔夫罗金的个人悲剧——正如陀思妥耶夫斯基所展开的那样，这在故事开始之前就已经经历了最初的阶段。
We end this chapter by looking at a story which presents a subtle variation on the basic shape of the tragic plot, not least because it mixes together both the forms of the plot we have been looking at: Dostoyevsky’s great prophetic novel on the social and spiritual disintegration of late-nineteenth century, pre-Revolutionary Russia, The Devils (or The Possessed). For a long time – nearly 400 pages of a 700-page book – it is not entirely clear what plot is shaping the narrative, or even whether the book has a clearly defined plot at all. But when the plot does finally emerge we see that one reason why this novel is in some ways so puzzling is that it is made up of two quite distinct but interwoven tragedies which eventually converge. The first is a collective tragedy, drawing in a large group of people, and this has a very long Anticipation Stage which occupies the greater part of the book. The other is the personal tragedy of the character who becomes the story’s ‘dark hero’, Nikolai Stavrogin – and this has already been through its initial stages before the opening of the story, as Dostoyevsky unfolds it.
小说的前几章，当我们向我们介绍俄罗斯一个省镇的生活时，实际上主要是两个中年人物，富有、纵容的寡妇斯塔夫罗金夫人和她软弱、虚荣的追随者维尔霍文斯基先生。他喜欢自吹自擂，说他被遥远的圣彼得堡政府视为“危险的自由主义者”。但最终我们看到这两个人主要是扮演书中另外两个主角的母亲和父亲的角色，他们在首都呆了几年后回到了小镇：斯塔夫罗金夫人的儿子尼古拉和维尔霍文斯基先生的儿子彼得。英俊的尼古拉是一个神秘而浪漫的人物，他归来时因生活怪异而放荡而声名狼藉，表面上他显得严肃而彬彬有礼，但他却因一两个明显令人费解的失误而震惊了镇上的上流社会，比如咬了省长的耳朵。他的朋友和崇拜者彼得·韦尔霍文斯基显然与一个革命者秘密社团有联系。
The early chapters of the novel, as we are introduced to the life of a provincial Russian town, are in fact dominated by two middle-aged characters, the rich, indulgent widow Mrs Stavrogin and her weak, vain hanger-on Mr Verkhovensky, who likes to flatter himself that he is feared by the government in distant St Petersburg as a ‘dangerous liberal’. But eventually we come to see these two primarily in their role as mother and father to the other two leading characters of the book, who return to the town after some years in the capital: Mrs Stavrogin’s son Nikolai and Mr Verkhovensky’s son Peter. The handsome Nikolai is a mysterious, romantic figure who returns with something of a scandalous reputation for having lived strangely and dissolutely, Outwardly he seems grave and well-mannered, but he shocks polite society in the town by one or two apparently inexplicable lapses, such as biting the ear of the provincial governor. His friend and admirer Peter Verkhovensky has apparently been associated with a secret society of revolutionaries.
即使他们回来后，镇上的生活在很长一段时间内仍然像一条大河一样平静地流淌。但随后会发生一些奇怪的小事件，就好像表面受到漩涡的干扰，警告一些强大的瀑布即将来临。一个奇怪的残疾女孩玛丽亚·列比亚特金到来，她似乎可能嫁给了尼古拉·斯塔夫罗金。一名精神变态的罪犯费德卡出现在镇上，不久之后，每个人都因教堂中珍贵圣像上的宝石被盗而感到震惊。一天晚上，费德卡拦住了斯塔夫罗金，并提出为了钱而谋杀他那令人尴尬的妻子，尼古拉愤怒地驳回了这一建议。最后有一个由 15 名持松散的进步或革命观点的人组成的会议，由彼得·韦尔霍文斯基（Peter Verkhovensky）组织，斯塔夫罗金（Stavrogin）出席；情节的轮廓终于开始显现。我们推测维尔霍文斯基有一个疯狂的梦想，即在镇上制造混乱，作为革命的第一步。不知何故，他受到了斯塔夫罗金作为命运的魅力人物的愿景的启发，他将成为领导者；但斯塔夫罗金显然不会接受这些，并且已经愤怒地转向维尔霍文斯基，指责他希望安排谋杀他的妻子玛丽亚和另一名被怀疑是警察间谍的革命者沙托夫，作为巩固革命者的一种方式' 决心。在本书的一半以上，我们所看到的是一个巧妙勾画的预期阶段的高潮，其中有一大堆不同的梦想 我们推测维尔霍文斯基有一个疯狂的梦想，即在镇上制造混乱，作为革命的第一步。不知何故，他受到了斯塔夫罗金作为命运的魅力人物的愿景的启发，他将成为领导者；但斯塔夫罗金显然不会接受这些，并且已经愤怒地转向维尔霍文斯基，指责他希望安排谋杀他的妻子玛丽亚和另一名被怀疑是警察间谍的革命者沙托夫，作为巩固革命者的一种方式' 决心。在本书的一半以上，我们所看到的是一个巧妙勾画的预期阶段的高潮，其中有一大堆不同的梦想 我们推测维尔霍文斯基有一个疯狂的梦想，即在镇上制造混乱，作为革命的第一步。不知何故，他受到了斯塔夫罗金作为命运的魅力人物的愿景的启发，他将成为领导者；但斯塔夫罗金显然不会接受这些，并且已经愤怒地转向维尔霍文斯基，指责他希望安排谋杀他的妻子玛丽亚和另一名被怀疑是警察间谍的革命者沙托夫，作为巩固革命者的一种方式' 决心。在本书的一半以上，我们所看到的是一个巧妙勾画的预期阶段的高潮，其中有一大堆不同的梦想 不知何故，他受到了斯塔夫罗金作为命运的魅力人物的愿景的启发，他将成为领导者；但斯塔夫罗金显然不会接受这些，并且已经愤怒地转向维尔霍文斯基，指责他希望安排谋杀他的妻子玛丽亚和另一名被怀疑是警察间谍的革命者沙托夫，作为巩固革命者的一种方式' 决心。在本书的一半以上，我们所看到的是一个巧妙勾画的预期阶段的高潮，其中有一大堆不同的梦想 不知何故，他受到了斯塔夫罗金作为命运的魅力人物的愿景的启发，他将成为领导者；但斯塔夫罗金显然不会接受这些，并且已经愤怒地转向维尔霍文斯基，指责他希望安排谋杀他的妻子玛丽亚和另一名被怀疑是警察间谍的革命者沙托夫，作为巩固革命者的一种方式' 决心。在本书的一半以上，我们所看到的是一个巧妙勾画的预期阶段的高潮，其中有一大堆不同的梦想关于混乱、暴力和未来革命的模糊幻想终于集中在某个具体计划上。
Even after their return, life in the town continues for a long time to flow fairly placidly onwards, like a great river. But then odd little incidents occur, as if the surface is being disturbed by eddies, warning of the approach of some mighty cataract. A strange, crippled girl, Maria Lebyatkin, arrives, and it seems she may be married to Nikolai Stavrogin. A psychopathic criminal Fedka turns up in the town, and shortly afterwards everyone is scandalised by the theft of precious stones from a much-prized icon in the church. One night Fedka waylays Stavrogin and offers to murder his embarrassing wife for money, a suggestion Nikolai angrily dismisses. Finally there is a meeting of 15 people of loosely-assorted progressive or revolutionary views, organised by Peter Verkhovensky and attended by Stavrogin; and the outlines of the plot at last begin to emerge. We gather that Verkhovensky has a wild dream of unleashing chaos in the town as a preliminary to revolution. He is somehow inspired by a vision of Stavrogin as the charismatic figure of destiny who will then emerge as leader; but Stavrogin will apparently have none of this, and has already turned angrily on Verkhovensky, accusing him of wishing to arrange for the murder of his wife Maria and of another revolutionary Shatov, suspected of being a police spy, as a way to cement the revolutionaries’ determination. What we are seeing, well over halfway through the book, is the culmination of a subtly sketched Anticipation Stage, where a whole mass of disparate dreams and vague fantasies about chaos, violence and some future revolution are at last being given their Focus round some specific plan.
但我们的注意力随后突然转向尼古拉·斯塔夫罗金本人的生活中已经上演了很长时间的个人悲剧。他拜访了一位睿智的老修道士吉洪神父，并向他提交了一份书面供词，讲述了他住在圣彼得堡时发生的一件可怕的事情。有一天，他发现自己和家里的女儿（一位名叫玛特廖莎的 12 岁女孩）独自在住处，一时冲动，他猛烈地强奸了她。女孩陷入了极度震惊的状态，陷入了紧张性恍惚，只能咕哝着“我杀死了上帝”，最后上吊自杀了。斯塔夫罗金发现自己对这件事在道德上已经麻木了，但从那时起，他的行为开始变得越来越奇怪。他无缘无故地与残疾且有精神缺陷的玛丽亚·莱比亚特金举行了结婚仪式。然后他抛弃了她，出国旅行了三年，在那里他与同城的女孩丽莎·德罗兹多夫发生了婚外情，并一度考虑重婚娶她，尽管他后来突然结束了这段恋情（丽莎是现在回到家了，我们已经作为斯塔夫罗金夫人的朋友见过她了）。最终尼古拉亲自回到了家乡，他的奇怪行为现在有了一些解释。他受到幻觉的困扰，经常感觉自己在附近 有一段时间，他曾考虑重婚娶她，尽管后来他突然结束了这段恋情（丽莎现在回到家了，我们已经作为斯塔夫罗金夫人的朋友见过她）。最终尼古拉亲自回到了家乡，他的奇怪行为现在有了一些解释。他受到幻觉的困扰，经常感觉自己在附近 有一段时间，他曾考虑重婚娶她，尽管后来他突然结束了这段恋情（丽莎现在回到家了，我们已经作为斯塔夫罗金夫人的朋友见过她）。最终尼古拉亲自回到了家乡，他的奇怪行为现在有了一些解释。他受到幻觉的困扰，经常感觉自己在附近
But our attention is then abruptly switched to the much more personal tragedy which has already been unfolding for a long time in the life of Nikolai Stavrogin himself. He visits a wise old monk, Father Tikhon, and presents him with a written confession of a hideous episode which had taken place when he was living in St Petersburg. Finding himself alone one day in his lodgings with the daughter of the house, a 12-year old girl called Matryosha, he had on a sudden depraved impulse violently raped her. The girl had been reduced to such a state of shock that she had sat in a catatonic trance, only able to mutter ‘I have killed God’, and had eventually hanged herself. Stavrogin had found himself morally quite numb about the episode, but from then on had begun to act more and more strangely. For no apparent reason he had gone through a ceremony of marriage with the crippled and mentally defective Maria Lebyatkin. He had then abandoned her and travelled abroad for three years, where he had entered on an affair with Lisa Drozdov, a girl from the same town, and for a while contemplated bigamously marrying her, although he had then abruptly ended the affair (Lisa is now back home, and we have already met her as a friend of Mrs Stavrogin’s). Eventually Nikolai had returned to their home town himself, where his strange behaviour now has some explanation. He has become plagued by hallucinations, often seeming to sense near him
“某种邪恶的生物，嘲弄而“理性”，具有多种个性和性格，但他知道它们始终是同一个生物”
‘some evil creature, mocking and “rational”, which took on a variety of personalities and characters, but which he knew was always the same creature’
他认为那是魔鬼。最后，为了摆脱诅咒（或者至少坦白说出来），他终于印刷了 300 份他的《忏悔录》，并计划在全镇分发。但在采访结束时，吉洪神父只是警告斯塔夫罗金，他可能会“感到被迫犯下一些新的、更令人发指的罪行，以避免公开供述”。他意识到，就像许多在挫折阶段挣扎的悲剧英雄一样，斯塔夫罗金现在可能会受到诱惑而采取某种新的黑暗行动，以进行最后的掩盖。
and which he supposes to be the Devil. He has finally, in a desperate bid to free himself of his curse (or at least to come clean about it), had 300 copies printed of his ‘Confession’, which he is planning to distribute through the town. But at the end of their interview, Father Tikhon merely warns Stavrogin that he will probably ‘feel driven to commit some new and still more heinous crime to avoid publication of the confession’. He has sensed that, like many tragic heroes wriggling on the hook in the Frustration Stage, Stavrogin may now be tempted into some new dark act, in a last effort at a cover up.
现在小说的最后几章已经一切就绪，这些章节充满了事件，而前面的章节似乎平淡无奇。有迹象表明，当地工厂的工人举行抗议游行，表明镇上正弥漫着某种奇怪的混乱情绪，似乎没有人能够控制。一切都在一个荒诞的文学节上达到了高潮，这个文学节由当地的各种知名人士组织，有演讲和舞会。随着这一切的展开，混乱爆发了，其方式与其说是计划好的，不如说是本书前 500 页酝酿的风暴的爆发。节日陷入混乱。小镇部分地区发生大火，在一栋似乎起火的房子里，人们发现了玛丽亚和她兄弟的尸体。他们被罪犯费德卡谋杀了，在不完全清楚的情况下。显而易见，当混乱的精神在镇上占据主导地位时，尼古拉·斯塔夫罗金（Nikolai Stavrogin）仿佛在恍惚中注视着一系列他不知道的可怕事件。直接参与其中，但他以某种可怕的方式激发了这一切并使之成为可能（正如他承认第一次杀戮一样，“我没有杀他们——我反对杀戮，但我知道他们会被杀，我并没有阻止凶手”）。其他死亡事件接踵而至。丽莎是另一个被斯塔夫罗金冤枉但仍然爱着他的女孩，她几乎被愤怒的暴民随意谋杀。罪犯费德卡被发现在镇外被谋杀。老维尔霍文斯基先生最后一次可怜地试图逃离斯塔夫罗金夫人令人窒息的魔掌，并在途中死去。这场日益严重的噩梦的最终焦点是彼得·韦尔霍文斯基组织了一群潜在的“革命者”冷血地杀害了不幸的沙托夫，这在责任人中引发了一场悔恨、认罪和自杀的大屠杀。
All is now set up for the concluding chapters of the novel which are as packed with incident as the earlier chapters seem uneventful. There are signs, such as a protest march of workers at the local factory, that some strange spirit of disorder is loose in the town which no one seems able to control. Everything comes to a climax at an absurd literary festival, organised by various local notables, with speeches and a ball. As this is unfolding, disorder breaks out, in a way which seems not so much planned as simply the breaking of the storm which has been brewing up throughout the preceding 500 pages of the book. The festival disintegrates into chaos. A great fire breaks out in part of the town and, in a house where the fire appears to have been started, the bodies of Maria and her brother are found. They have been murdered by Fedka the convict, in circumstances not altogether clear. What is clear, as the spirit of disorder takes charge in the town, is that Nikolai Stavrogin watches as if in a trance a horrifying sequence of events which he has no direct part in, but which in some terrible way he has inspired and made possible (as he admits about the first killings, ‘I didn’t kill them – I was against the killing, but I knew they were going to be killed and I didn’t stop the killers’). Other deaths follow in chaotic profusion. Lisa, the other girl wronged by Stavrogin but who still loves him, is almost casually murdered by an angry mob. The convict Fedka is found murdered outside the town. Old Mr Verkhovensky makes a last pitiful attempt to run away from Mrs Stavrogin’s suffocating clutches and dies on the journey. The growing nightmare finds a final focus round Peter Verkhovensky’s organising of the cold-blooded killing of the unhappy Shatov by a group of would-be ‘revolutionaries’, which unleashes among those responsible a holocaust of remorse, confessions and suicide. At last Nikolai Stavrogin can take no more and hangs himself.
《恶魔》给大家留下了深刻的印象——陀思妥耶夫斯基在《圣经》中关于加达林猪的故事的开头引文中明确表达了这一点——讲述的是一群人出于各种不同的原因，被暴力“革命行动”的集体幻想所着迷。很长一段时间，他们只是在一种模糊的期待中前行，谈论和梦想着遥远的未来某一天将要释放的血腥和混乱。但这一天终于到来，没过多久，最初混乱的梦境就迅速失控，直到他们中的一些人被带入毁灭和自我毁灭的致命漩涡。从某种意义上说，这就是本书所描述的更大的悲剧。正是这一点使得这部小说具有历史预言性。但是，如果没有斯塔夫罗金更加个人化和激烈的悲剧，更大的悲剧不可能以这种方式发生，从圣彼得堡小玛特廖莎被强奸和自杀开始。如果没有斯塔夫罗金这个集体悲剧的主要煽动者，彼得·韦尔霍文斯基就不会得到他的灵感，他想象中的领袖。如果不是斯塔夫罗金鲁莽地愚蠢地娶了玛丽亚，维尔霍文斯基就不会找到借口策划谋杀残废的玛丽亚，这一事件比任何其他事件最终都让这座小镇陷入了一场大屠杀。如果不是因为玛特廖莎死亡之前发生的可怕事件，斯塔夫罗金就不会陷入与玛丽亚结婚的不切实际和无情的诱惑。斯塔夫罗金不可能对玛特廖沙犯下罪行，如果他还没有失去道德中心的话。他和彼得·韦尔霍文斯基都不会失去道德准则，不会沦落到“魔鬼”一开始就能轻易占据他们的境地，陀思妥耶夫斯基的线索是这样的，如果没有他们父母最初的弱点：斯塔夫罗金夫人的溺爱沉迷于她心爱的尼古拉和韦尔霍文斯基先生关于成为“危险的自由主义者”的自欺欺人的幻想；这就是为什么这两个人在故事的开头被放在如此显着的位置。斯塔夫罗金夫人对她心爱的尼古拉的溺爱和维尔霍文斯基先生自欺欺人地幻想自己是一个“危险的自由主义者”；这就是为什么这两个人在故事的开头被放在如此显着的位置。斯塔夫罗金夫人对她心爱的尼古拉的溺爱和维尔霍文斯基先生自欺欺人地幻想自己是一个“危险的自由主义者”；这就是为什么这两个人在故事的开头被放在如此显着的位置。
The overwhelming impression of The Devils – clearly intended from Dostoyevsky’s opening quotation of the biblical story of the Gadarene swine – is of a whole group of people becoming possessed, for all sorts of disparate reasons, by a collective fantasy of violent ‘revolutionary action’. For a long time they are merely swept along in a state of vague anticipation, talking and dreaming of the blood and chaos which is going to be unleashed on some day in the distant future. But finally the day arrives and it is not long before the Dream Stage of initial chaos spins rapidly out of control, until some of them are carried over the edge into a deadly vortex of destruction and self-destruction. Such, in a sense, is the greater Tragedy described by the book; and it was this which made the novel historically prophetic. But the greater Tragedy could not have taken place in the way it did without the much more personal and intense tragedy of Stavrogin, beginning with the rape and suicide of little Matryosha in St Petersburg. Without Stavrogin, the chief instigator of the collective Tragedy, Peter Verkhovensky would not have had his inspiration, his imagined leader. Verkhovensky would not have had his excuse to plot the murder of the crippled Maria, the event which more than any other eventually turns the town into a bloodbath, if it had not been for Stavrogin’s reckless folly in marrying her. Stavrogin would not have got into the state where he was tempted into the quixotic and heartless gesture of marrying Maria if it had not been for the horrible preceding episode of Matryosha’s death. Stavrogin could not have committed his crime against Matryosha, if he had not already lost his moral centre. And neither he nor Peter Verkhovensky would have lost their moral bearings and been reduced to the state where the ‘devils’ could so easily have possessed them in the first place, so Dostoyevsky’s thread runs, without the initial weakness of their parents: Mrs Stavrogin’s spoiling indulgence of her beloved Nikolai and Mr Verkhovensky’s self-deluding fantasies about being a ‘dangerous liberal’; which is why these two are placed in such a prominent position at the beginning of the story.
《魔鬼》是所有文学中对悲剧精神最黑暗的描绘之一，它占据了方兴未艾的悲剧精神，占领了人们的心灵和思想，促使他们释放出死亡和毁灭的洪流，最终将他们卷走。事实上，它最终为我们提供了一个适当的线索，让我们退后一步，用更一般的术语来审视这类故事：审视它的内在逻辑是什么。故事讲述规定，浮士德和麦克白、亨伯特·亨伯特和多里安·格雷、安娜·卡列尼娜和艾玛·包法利、唐璜和尼古拉·斯塔夫罗金等截然不同的人物最终都应该被困在同一个黑色漩涡中，并被带到同样的暴力结局。这个问题对于整个讲故事（以及故事与我们所谓的“现实生活”的关系）来说是如此根本，以至于可以将其保留在单独的章节中。
The Devils is one of the blackest of all literary portrayals of the spirit of Tragedy entering the ascendant, taking over men’s hearts and minds and prompting them to unleash a torrent of death and destruction which eventually sweeps them away. In fact it provides an appropriate cue for us at last to stand back to look at this kind of story in more general terms: to examine what it is in the inner logic of storytelling which decrees that such disparate figures as Faust and Macbeth, Humbert Humbert and Dorian Gray, Anna Karenina and Emma Bovary, Don Giovanni and Nikolai Stavrogin, should all ultimately be trapped in the same black vortex and be carried down to the same violent end. So fundamental is this question to the whole of storytelling (and to the relationship of stories to what we call ‘real life’) that it may be reserved for a separate chapter.
第9章
悲剧（二）：分裂的自我
Chapter 9
Tragedy (II): The Divided Self
“自从卡修斯第一次激怒我反对凯撒以来
‘Since Cassius first did whet me against Caesar
我还没睡。
I have not slept.
在可怕的事情第一次发生之间
Between the first acting of a dreadful thing
第一个动议，所有的临时措施都是
And the first motion, all the interim is
就像一个幻象或一个可怕的梦；
Like a phantasma or a hideous dream;
天才与凡人仪器
The Genius and the mortal instruments
然后参加议会；以及人的状态，
Are then in council; and the state of man,
就像一个小王国，然后受苦
Like to a little kingdom, suffers then
叛乱的性质。
The nature of an insurrection.’
布鲁图斯，尤利乌斯·凯撒，ii.i
Brutus, Julius Caesar, ii.i
‘凡一国自相分争，就成为荒场；房屋自相分裂就会倒塌。
‘Every kingdom divided against itself is brought to desolation; and a house divided against itself falleth.’
耶稣，圣路加福音，11.17
Jesus, St Luke’s Gospel, 11.17
看待悲剧模式更有启发性的方法之一是将其与我们之前讨论的情节类型进行对比。
One of the more illuminating ways to look at the pattern of Tragedy is to contrast it with the types of plot we discussed earlier.
在某些方面，悲剧开头的男女主人公的地位与《探寻》或《白手起家》故事开头的男女主人公的地位并没有什么不同。我们第一次在某种情况下遇到他们，这种情况并不让人感到轻松或满意，而是迫切需要改变。然后发生了一些事情，指明了前进的方向。他们收到某种“召唤”，引导他们摆脱不满意的状态，进入将改变他们生活的冒险。
In some respects the position of the hero or heroine at the beginning of a Tragedy is not dissimilar to that of the hero or heroine at the opening of, say, a Quest or a Rags to Riches story. We first meet them in some situation which does not give ease or satisfaction, which cries out for change. Then something happens which points the way forward. They receive some kind of ‘Call’ which leads them out of their dissatisfying state into the adventure which is going to transform their lives.
悲剧与其他类型的故事之间的巨大区别始于吸引他们进入冒险的召唤的本质。当克服怪物的故事或任务中的英雄收到“召唤”时——无论他面临的道路有多危险——我们毫不怀疑他回答这个召唤是正确的。当悲剧的男女主人公达到同样的地步时，我们会感到不安。我们知道“召唤”的性质不同；这就是为什么它可能更恰当地被描述为“诱惑”。
The great difference between Tragedy and other kinds of story begins with the nature of the summons which draws them into that adventure. When the hero of an Overcoming the Monster story or a Quest receives the ‘Call’ – however hazardous the course it opens out to him – we are in no doubt it is right for him to answer it. When the hero or heroine of Tragedy reaches the same point we are uneasy. We are aware that the ‘Call’ is not of the same nature; which is why it may more aptly be described as the ‘Temptation’.
这是因为行动召唤以一种特殊的方式针对男女主人公个性的某一特定方面。我们已经意识到他们有一个部分，一种欲望，一种胃口，这对他们来说一直困扰着，以至于满足它的冲动逐渐发展成一种压倒性的痴迷。这可能是对权力的渴望，就像麦克白或马洛笔下的浮士德博士一样，他梦想着赢得前所未有的“权力、荣誉和全能”。可能是对性的渴望兴奋或浪漫的激情，就像亨伯特·亨伯特，或者那两个因乏味、不称职的丈夫安娜·卡列尼娜和爱玛·包法利而沮丧的妻子。它可能是一种对感觉的渴望，这种感觉相当模糊和难以定义，就像道林·格雷或邦妮和克莱德的例子一样，为了“刺激”而抢劫银行，其中性欲和对他人权力的渴望混合在一起。
This is because of the peculiar way in which the summons to action is directed at one particular aspect of the hero or heroine’s personality. We have already become aware that there is one part of them, one desire, one appetite, which is nagging at them to the point where the urge to gratify it is building up into an overwhelming obsession. This may be an appetite for power, as in the case of Macbeth or Marlowe’s Dr Faustus, who dreams of winning ‘power, honour and omnipotence’ such as no man has ever enjoyed before. It may be a hunger for sexual excitement or romantic passion, as with Humbert Humbert, or those two wives frustrated by their tedious, inadequate husbands, Anna Karenina and Emma Bovary. It may be a longing for sensation rather vaguer and harder to define, as in the examples of Dorian Gray or Bonnie and Clyde, committing bank robberies for ‘kicks’, where elements of sexual desire and the desire for power over others are mixed together.
但在每一个例子中，我们都意识到，他们的痴迷让他们陷入了违反和藐视某些禁令、法律、惯例、义务、承诺或正常标准的事情。他们受到诱惑，要走出限制他们的界限。1伊卡洛斯希望挑战控制他飞行的自然法则的平衡。浮士德博士希望走出传统知识的界限。杰基尔博士和道林·格雷希望超越道德的界限。安娜·卡列尼娜和爱玛·包法利希望走出婚姻的界限。在每一个例子中，悲剧英雄或女英雄都开始感觉到我们最初发现他们的环境——麦克白、邦妮和克莱德、亨伯特·亨伯特、唐·何塞——在某种程度上令人厌烦、限制、乏味、不充分。
But in every instance we are aware that what their obsession is drawing them into is something which violates and defies some prohibition or law or convention or duty or commitment or standard of normality. They are being tempted into stepping outside the bounds which circumscribe them.1 Icarus wishes to defy the balance of the natural laws which govern his flight. Doctor Faustus wishes to step outside the bounds of conventional knowledge. Dr Jekyll and Dorian Gray wish to step outside the bounds of morality. Anna Karenina and Emma Bovary wish to step outside the bounds of their marriages. In every case, the tragic hero or heroine has come to sense the circumstances in which we originally discover them – Macbeth, Bonnie and Clyde, Humbert Humbert, Don José – as in some way irksome, restricting, tedious, inadequate.
正是这种束缚感，诱惑——无论它源于他们自身，还是以引诱他们的诱惑者或诱惑者的形象化身——似乎提供了几乎难以想象的令人兴奋的释放的希望。
And it is this sense of constriction from which the Temptation – whether it originates within themselves or is personified in the figure of a Tempter or Temptress who lures them on – seems to offer the promise of almost unimaginably exhilarating release.
这就导致了悲剧与其他类型故事的模式之间的第二个区别。当任务或克服怪物故事中的英雄收到“召唤”时，我们不仅毫不怀疑他们应该回应它：我们知道他们必须全身心地投入到他们的冒险中和灵魂；他们通常不会让任何人对他们的意图产生任何怀疑。我们给人的印象是一个完全公开地致力于他正在从事的课程的人。
This leads on to a second difference between the pattern of Tragedy and that of other kinds of story. When the hero of a Quest or an Overcoming the Monster story receives the ‘Call’, not only are we in no doubt that they should answer it: we know that they will have to commit themselves to their adventure totally, body, mind, heart and soul; and they usually leave no one else in any doubt as to their intentions. We are given the impression of someone completely and openly dedicated to the course he is embarking on.
当悲剧的男女主人公面临诱惑时，情况就不同了。在许多情况下，我们看到他们在屈服之前挣扎或动摇，这表明他们最初决不是一心一意地让步。浮士德在与魔鬼签订契约之前与自己进行了斗争，因为他听到了“邪恶天使”催促他前进和“善良天使”试图叫他回来的争论。麦克白看到手中的匕首时犹豫不决，直到麦克白夫人作为他的“邪恶天使”推动他前进。布鲁图斯在凯撒被谋杀前那个暴风雨、不祥的夜晚中摇摆不定，直到“邪恶天使”卡修斯最终说服了他。唐·何塞在他的“善良天使”米凯拉和他的“邪恶天使”卡门之间左右为难。
When the heroes or heroines of Tragedy are faced with the Temptation it is a different matter. In many instances we see them struggling or wavering before they succumb, a sign that they are initially by no means single-minded about giving way. Faustus wrestles with himself before signing his pact with the Devil, as he hears the arguments of the ‘Evil Angel’ urging him on and the ‘Good Angel’ trying to call him back. Macbeth falters at the sight of the dagger in his hand, until Lady Macbeth as his ‘evil angel’ pushes him onward. Brutus wavers through the course of the stormy, ill-omened night before Caesar’s murder, until the ‘evil angel’ Cassius finally persuades him. Don José is torn between his ‘good angel’ Micaela, and his ‘evil angel’ Carmen.
在每种情况下，他们中的一部分人似乎不愿意做出另一部分人所渴望的不可挽回的行为：仿佛从一开始，悲剧英雄或女主人公就是一个“分裂的自我”，是他们的性格与他人作斗争。
In each instance it is as if part of them is reluctant to commit the irrevocable act which another part of them has come to desire: as if, right from the start, the tragic hero or heroine is a ‘divided self’, one part of their personality striving against another.
悲剧中的许多英雄或女主人公可能被视为“分裂”的第二种方式是需要将他们的“黑暗”冲动和行为隐藏在“光明”或受人尊敬的外表后面的世界之外。杰基尔博士和海德先生之所以能成为英语世界最著名的故事之一，正是因为它将这个熟悉的主题如此生动地具体化，将故事的中心特征变成了英雄分裂成两个完全不同的人。个性鲜明，受人尊敬、守法的杰基尔和他秘密的“影子自我”，畸形且完全不道德的“夜间生物”海德。在《道林·格雷的画像》中这种分裂体现在主人公永远年轻的美丽（没有犯罪和道德过分的痕迹）和隐藏的肖像之间的契约中，肖像隐藏着标志着格雷堕落之路的道德和身体堕落的全部负担。亨伯特教授是多塞特两位牧师的曾孙，长期以来，他一直在这位受人尊敬的学者面前隐藏着对小女孩的秘密迷恋。他过着“双重生活”，就像杀人犯麦克白和通奸的安娜·卡列尼娜和爱玛·包法利以不同的方式、持续不同的时间一样。
A second way in which many heroes or heroines of Tragedy may be seen as ‘divided’ is in the need to keep their ‘dark’ impulses and actions hidden from the world behind a ‘light’ or respectable front. The main reason why Dr Jekyll and Mr Hyde has become one of the most celebrated stories of the English-speaking world is precisely because it crystallises this familiar motif so vividly, by making the central characteristic of the story the splitting of the hero into two quite distinct personalities, the respectable, law-abiding Jekyll and his secret ‘shadow-self’, the deformed and totally amoral ‘night creature’ Hyde. In The Picture of Dorian Gray the split is personified in the contract between the hero’s perennially youthful beauty, unmarked by his crimes and moral excesses, and the portrait hidden away which carried the full burden of the moral and physical degeneration marking Gray’s downward path. Professor Humbert, the great-grandson of two Dorset clergymen, for a long time manages to keep his secret obsession with little girls hidden behind the front of the respectable academic. He leads a ‘double life’, just as in their different ways, and for varying amounts of time, do the murderer Macbeth and the adulterous Anna Karenina and Emma Bovary.
一般来说，我们可以说所有这些角色的“光明”和“黑暗”一面之间的分裂：当然，这是他们的“黑暗”一面，最初对世界隐藏，后来发展成一种状态对诱惑的预期痴迷。但他们迟早会屈服。“暗”能量找到了焦点。麦克白决心杀死邓肯，唐·何塞屈服于卡门的魅力，安娜·卡列尼娜屈服于渥伦斯基的魅力，亨伯特勾引心甘情愿的洛丽塔，浮士德与梅菲斯特签订契约：他们已经到了不归路。第一个结果是神经兴奋的泛滥，标志着他们进入了一个新的阶段。正如杰基尔博士所说，当他第一次成功地转变为海德自我时：
In general we may speak of a split between the ‘light’ and ‘dark’ sides of all these characters: and it is, of course, their ‘dark’ side, initially hidden from the world, which is worked up into a state of anticipatory obsession by the Temptation. But sooner or later they succumb. The ‘dark’ energy finds its Focus. Macbeth screws up his determination to kill Duncan, Don José succumbs to the charms of Carmen, Anna Karenina succumbs to the charms of Vronsky, Humbert seduces the willing Lolita, Faustus seals his pact with Mephistopheles: they have passed the point of no return. And the first consequence is a flood of nervous excitement, marking their entry into a new stage. As Dr Jekyll puts it, when he first manages to effect the switch into his Hyde-self:
“我意识到一种令人陶醉的鲁莽，一股无序的感官图像在我的想象中像磨坊一样奔跑，这是义务界限的解决方案……”
‘I was conscious of a heady recklessness, a current of disordered sensual images running like a mill race in my fancy, a solution of the bounds of obligation...’
界限已经被超越了。突然间，一切似乎都有可能。我们知道，我们的英雄或女英雄已经离开了他们开始时相对安全的环境，就像一艘小船从岸边驶入一条湍急的河流中未知的水流。首先，以这种方式旋转是非常令人兴奋的。但它将把他们引向何方呢？
The bounds have been overstepped. Suddenly all seems possible. We are aware that our hero or heroine has left the comparative safety and security of the situation in which they began, like a boat launched out from the shore onto the unknown currents of a fast-flowing river. And to begin with it is fiercely exhilarating to be whirled along in this manner. But where is it going to lead them?
正如我们所知，关于故事最重要的事实之一是它们努力实现结局的动力：这个结局会让我们感觉故事中设定的一切都已解决。几乎在所有故事中，我们都会看到男女主角离开最初的状态，进入一段更加不确定的时期，此时一切似乎都比以往任何时候都悬而未决。但如果故事有一个美好的结局，我们最终看到他们到达一个可以在新的、更安全的基础上休息的状态。如果故事的中心部分是由某种巨大的威胁或阴影扮演的，那么那个阴影就会被消除。如果角色之间存在分歧，那么它会以某种方式得到解决，通常是本着和解的精神。我们深刻地意识到，事情至少在各个方面都是完整的。在大多数幸福结局的核心，象征着这种完成的，是男女主人公在爱情中结合在一起的景象，未来就在他们面前。
One of the most significant facts about stories, as we know, is their drive to work towards an ending: an ending which will give us the sense that everything set in train during the story has been resolved. In almost any story we see the hero or heroine leaving their initial state for a period of still greater uncertainty, when all seems more than ever unresolved. But where the story has a happy ending, we eventually see them arrive at a state where they can come to rest, on new and much more secure foundations. If a central part has been played in the story by some great threat or shadow, that shadow will have been lifted. If there is division between the characters, it will in some way or other have been resolved, usually in a general spirit of reconciliation. We have a profound sense that things are at least, in every way, complete. And symbolising that completion, at the heart of most happy endings, there is the spectacle of a hero and heroine united in love, with the future ahead of them.
当然，悲剧的全部意义在于它不是那样的。不知何故，英雄或女英雄所走的道路的本质决定了他们不会到达那个快乐和安全的休息点。他们可能会想象，只要他们能够到达某某地方，他们就会安全。事实上，他们的大部分时间常常花在努力实现这样一个美好想象的目标上。但问题是他们脚下的地面不断塌陷。从他们屈服于诱惑并想象自己即将开始享受奖励的那一刻起，一切都不像他们预期的那样。事实上，如果我们仔细观察我们所考虑的任何悲剧的展开，我们就能看到整个故事中中心人物的情绪如何在期待和沮丧之间不断摇摆。对于一心走上悲剧道路的男女主人公来说，没有什么可以完全解决的。这有两个密切相关的原因。
The whole point of Tragedy, of course, is that it is not like that. It is somehow in the nature of the course the hero or heroine has embarked on that they are not going to reach that happy and secure point of rest. They may imagine that, if only they can reach such and such a place, they will be secure. Indeed a large part of their time is often spent striving towards just such a fondly imagined goal. But the trouble is that the ground keeps on giving way under their feet. From the moment they succumb to the Temptation and imagine that they are about to start enjoying their rewards, nothing turns out quite as they expected. Indeed, if we look closely at the unfolding of any of the tragedies we have been considering, we can see how the mood of the central figure is continually swinging between anticipation and frustration throughout the story. Nothing for the hero or heroine bent on a tragic course can even quite resolve. And for this there are two, closely related reasons.
首先，当他们踏上自己的道路时，总会忽略一些东西。我们用“鲁莽”这个词来形容他们出发时的心情并非没有道理：他们的注意力如此执着地集中在一个点上，一个欲望的对象上，以至于他们不注意整体中的其他因素。因此，他们的经营环境可能会产生他们有限的视野无法预见的后果。当伊卡洛斯在他令人兴奋的飞向太阳的过程中向上上升时，他对控制他飞行的物理定律关闭了自己的思想。当唐·何塞屈服于对卡门的迷恋时，他对卡门最终可能像她对他一样随意地转移感情的可能性视而不见。当麦克白谋杀邓肯时，他唯一有意识的想法是，他正在消除他自己和他内心的欲望之间的一个障碍，即王权。他没有想到有一天他的罪行可能会被发现。
The first is that, when they embark on their course, there is always something which they overlook. It is not for nothing that we apply the word ‘reckless’ to the mood in which they set out: they have their attention fixed so obsessively on one point, one object of desire, that they do not pay heed to other factors in the overall context in which they are operating which may therefore produce consequences which their restricted vision fails to foresee. When Icarus ascends upwards in his heady flight towards the sun he shuts his mind to the physical laws governing his flight. When Don José succumbs to his infatuation for Carmen, he has become blinded to the possibility that she may eventually switch her affections to someone else just as casually as she switches them to him. When Macbeth carries out the murder of Duncan his only conscious thought is that he is removing the one obstacle between himself and his heart’s desire, the kingship. It does not enter his mind that his crime might one day be found out.
事实上，我们看到悲剧的男女主人公越来越陷入困境，就像民间传说中“坚守”故事中的主人公一样，在每一次尝试中摆脱困境（就像麦克白谋杀可疑的班柯一样）只会陷入更多的困境：除了当兔子兄弟被焦油宝宝粘住时，他陷入了别人为他设下的陷阱，而悲剧的男女主人公则被某种最终源于他们自己的强迫性欲望所困。 。在这方面，我们经常在谈到悲剧的中心人物时看到“梦想”和“幻想”这两个词，这并非偶然。我们自然地用这样的词来描述一个在某种程度上与周围世界的现实脱节的人的心态。悲剧的男主角和女主角。他们陷入了一种幻想或梦想状态，在这种状态下，他们对满足某种欲望或食欲的痴迷超越了他们进行更广泛判断的能力。当他们进入这样的幻境之后，就会越陷越深。在做出了一个错误的举动之后，他们就会被引导到另一个又一个，越来越绝望地试图巩固或恢复自己的地位。他们与周围世界的现实越来越不一致——直到最后现实开始逼近他们，要求他们进行清算。2
In fact we see the heroes and heroines of Tragedy becoming more and more ensnared in their predicament, precisely like the hero of one of those ‘Stickfast’ tales in folklore where, with every attempt to get free (like Macbeth murdering the suspicious Banquo) he only gets a little more trapped: except that when Brer Rabbit gets stuck to the Tar Baby he is falling into a trap laid for him by someone else, whereas the heroes and heroines of Tragedy are becoming ensnared by some obsessive desire which springs ultimately from themselves. In this respect it is no accident that we so often, in relation to the central figures of Tragedy, see reference to the words ‘dream’ and ‘fantasy’. We naturally use such words to describe the state of mind of someone who has in some way lost touch with the reality of the world around him. And this is precisely what is happening to the hero and heroine of a Tragedy. They are being drawn into a kind of fantasy or dream-state, in which their obsession with gratifying one desire or appetite overrules their capacity for wider judgement. Having entered into such a state of illusion, they slide further and further into it. Having made one false move, they are led into another and another in an increasingly desperate bid to shore up or retrieve their position. They are set more and more at odds with the reality of the world around them – until finally it begins to close in on them, demanding a reckoning.2
我们在任何地方都可以更清楚地看到这一不可阻挡的过程——这就是悲剧男女主人公所遵循的路线无法达到令人满意的解决方案的第二个原因——比他们与周围其他人的关系的演变性质更清楚地反映了这一点。故事。
Nowhere do we see this inexorable process more clearly reflected – and this is the second reason why the course followed by the hero or heroine of Tragedy cannot reach a satisfactory resolution – than in the evolving nature of their relations with the other people around them in the story.
在一个完整的五个阶段的悲剧的开始，中心人物总是一个社区、一个关系网络的一部分，通过忠诚、友谊、家庭或婚姻的纽带与其他人联系在一起。当这些英雄和女英雄踏上悲剧历程时，发生的最重要的事情之一就是他们开始打破忠诚、友谊和爱情的纽带（即使最初他们可能会结成其他联盟）。悲剧的本质就是男女主人公应该一步一步地与其他人分开。他们常常以最明显、最暴力、最最终的方式来分离自己，即造成他人死亡。这里我们要特别注意的是，男女主人公身边的哪些人最有可能死于悲剧。
At the beginning of a full five-stage Tragedy, the central figure is always part of a community, a network of relationships, linked to other people by ties of loyalty, friendship, family or marriage. And one of the most important things which happens to such heroes and heroines as they embark on their tragic course is that they begin to break those bonds of loyalty, friendship and love (even if, initially, they may form other alliances). It is the very essence of Tragedy that the hero or heroine should become, step by step, separated from other people. Often they separate themselves in the most obvious, violent and final way possible, by causing other people’s deaths. And here we must particularly note the kind of people around the hero or heroine who are most likely to die in a Tragedy.
在以英雄为中心的悲剧中，我们可以挑选出四种类型的受害者，他们特别有可能因英雄的鲁莽行为而遭受痛苦。其中两个是男性，两个是女性——我们可以将他们描述为：
In tragedies centred on a hero, we may single out four types of victim who are particularly likely to suffer as a result of the hero’s reckless course. Two of these are male, two female – and we may describe them as:
好老头
是对手，“影子”
是无辜的年轻女孩，
是妖妇。
the Good Old Man
the Rival or ‘Shadow’
the Innocent Young Girl
the Temptress.
好老人
The Good Old Man
这是一个比英雄更年长的人物，在某种程度上代表了国王或父亲的权威。例子有被麦克白杀死的邓肯；朱利叶斯·凯撒，被布鲁图斯杀死；骑士团长，被唐璜杀死。
This is a figure older than the hero, who in some way represents kingly or fatherly authority. Examples are Duncan, killed by Macbeth; Julius Caesar, killed by Brutus; the Commendatore, killed by Don Giovanni.
对手或“影子”
The Rival or ‘Shadow’
这是一个在某种程度上与英雄处于同一水平的人物（例如，年龄、等级或其他相似性），对他来说是一种“对立”和威胁。一个明显的例子是班柯，麦克白的战友和战友，他被许诺他的后代将在麦克白失败的地方取得成功，并且他是第一个识破老朋友罪行的人。另一个例子是演员西比尔·韦恩的弟弟吉姆·韦恩，他对受委屈的妹妹有着纯粹的爱，就像道林·格雷对她的爱是不纯粹的一样。第三个是奎尔蒂，他从亨伯特·亨伯特那里偷走了洛丽塔。他以相反的方式对英雄来说是一个具有威胁性的“影子”，正是因为他与亨伯特如此相似，分享着他的痴迷；这就是为什么亨伯特最终觉得自己被迫谋杀他。
This is a figure in some way on a level with the hero (e.g., by age, rank or some other similarity) who comes to stand as a kind of ‘opposite’ and threat to him. An obvious example is Banquo, Macbeth’s comrade in arms and fellow-general, who is promised that his descendants will succeed where Macbeth fails and who is the first to see through his old friend’s crimes. Another instance is Jim Vane, the young brother of the actress Sibyl Vane, who is driven by a pure love for his wronged sister, just as Dorian Gray’s love for her is impure. A third is Quilty, the lover who steals Lolita off Humbert Humbert. He stands as a threatening ‘shadow’ to the hero in the opposite way, precisely because he is so similar to Humbert, sharing his obsession; which is why Humbert feels eventually driven to murder him.
比英雄与这些男性人物的关系更重要的是他与故事中主要女性人物之间的关系：特别是当我们记住，英雄最终应该与一个完全解决的幸福结局是多么重要时。女主角作为他的“另一半”，完美、充满爱的结合。
Even more significant than the hero’s relations with these male figures are those between him and the chief feminine figures in the story: particularly when we bear in mind how important it is to a fully resolved happy ending that the hero should eventually be brought together with a heroine as his ‘other half’ in perfect, loving union.
悲剧中的主要女性人物也往往分为两种截然不同的类型：
The chief feminine figures in Tragedy also tend to polarise into two distinct types:
天真的少女
The Innocent Young Girl
一方面，在所有英雄的受害者中，最令人心酸的是无辜的年轻女孩，因为她对他冷酷无情的自私心毫无防备。对于英雄来说，她是“好天使”，但不足以影响他。英雄迟早会残酷地拒绝她。在悲剧中，没有哪个时刻比这样一个女孩的命运被决定时更充满了主人公在走下坡路时所遭遇的恐怖：就像小玛特廖莎在被斯塔夫罗金强奸后，坐在她的恍惚中自言自语时自杀前，“我杀死了上帝”。被道林·格雷拒绝的西比尔·万恩（Sibyl Vane）也做了同样的事。当小米凯拉最终被唐·何塞拒绝并悄悄消失在阴影中时，我们知道他注定要失败。
On the one hand, most poignant of all the hero’s victims because she is so defenceless against his hard-hearted egotism, there is the innocent young girl. She stands in relation to the hero as ‘good angel’, but is inadequate to sway him. Sooner or later the hero brutally rejects her. And there is no moment in Tragedy more pregnant with the horror of what is happening to the hero on his downward path than when the fate of such a girl is decided: as when little Matryosha, after being raped by Stavrogin, sits in her trance muttering ‘I have killed God’, before committing suicide. Sibyl Vane, rejected by Dorian Gray, does likewise. When little Micaela is finally rejected by Don José and creeps away into the shadows, we know he is doomed. The whole tragedy of Othello is contained precisely in the way that he blindly turns on the ‘good angel’ of his life, his ‘other half’ Desdemona, and stabs her to death.
妖妇
The Temptress
悲剧中的另一种类型的女主人公则截然不同，她本身就是一个“黑暗”人物，引导着主人公前进。即便如此，妖妇几乎总是以暴力结束，通常与英雄几乎同时死亡。邦妮将克莱德拉入了他的暴力犯罪生活，并在结尾时与他一起被枪杀故事的瞬间。克利奥帕特拉引诱安东尼失去了男子气概的“罗马自我”，并在把他拖入军事羞辱的过程中发挥了关键作用，在他自杀后不久就自杀了。麦克白的噩梦中最可怕的症状是他妻子的精神错乱，导致她在他自己去世前不久神秘死亡。
The other type of heroine in Tragedy is quite different, in that she is herself a ‘dark’ figure, leading the hero on. Even so, the Temptress almost invariably ends up dying a violent death, usually at much the same time as the hero. Bonnie, having drawn Clyde into his life of violent crime, is shot down with him in the closing moments of the story. Cleopatra, having lured Antony away from his manly `Roman self’ and played a crucial part in dragging him down to military humiliation, commits suicide shortly after he does. The most terrible symptom of the nightmare closing in on Macbeth is the onset of his wife’s insanity, leading to her mysterious death shortly before his own.
至少这些“黑暗”女英雄仍然忠于被她们拖入毁灭的男人。在该主题的其他版本中，妖妇在最后阶段从英雄身边溜走，没有什么比他为之赌上一切的女人最终证明是难以捉摸的事实更能加剧他的挫败感。亨伯特失去了洛丽塔。卡门抛弃了唐·何塞，这让他陷入了最后的分心。凯瑟琳，这个迷惑朱尔斯和吉姆的“幽灵”，最终从其中一人身边溜走，并将另一人拖入灭亡。没有什么地方比《浮士德博士》更巧妙地呈现了这种“难以捉摸的女性”主题，在这部作品中，作为他魔鬼赋予的力量的最后一次、最高的展示，英雄被允许召唤出有史以来最美丽的女人——海伦。特洛伊。浮士德上前抓住并亲吻她。结果她只是另一个虚幻的幻象，然后就消失了。最后他知道一切都失去了。
At least these ‘dark’ heroines remain faithful to the man they have drawn down to destruction. In other versions of the theme the Temptress slips away from the hero in the closing stages, and nothing contributes more to his mounting sense of frustration than the fact that the woman for whom he has staked all proves ultimately elusive. Humbert loses Lolita. Carmen’s abandonment of Don José drives him to final distraction. Catherine, the ‘apparition’ who bewitches Jules and Jim, ends up by slipping away from one and dragging the other down to his doom. And nowhere is this motif of the ‘elusive feminine’ presented more subtly than in Doctor Faustus where, as the last, supreme demonstration of his devil-given powers, the hero is permitted to conjure up the most beautiful woman who has ever lived, Helen of Troy. Faustus steps forward to seize and kiss her. She turns out to be just another insubstantial vision, and vanishes. At last he knows all is lost.
在每一个例子中，英雄都发现自己无法达到他所渴望的成就，在那里他可以与他想要的“另一半”实现完全和持久的结合。要么她把他拖下去，分担他的毁灭，要么她像鬼火一样从他身边逃走。相反，以女主人公为中心的悲剧也是如此。
In every instance the hero finds himself unable to reach the fulfilment he craves, where he can achieve complete and lasting union with his desired ‘other half’. Either she drags him down to share his destruction, or she skips away from him like a will o’ the wisp. The same is true, in reverse, of tragedies centred on a heroine.
安娜·卡列尼娜和爱玛·包法利都把平淡、缺乏安全感的婚姻留给了那些用浪漫激情的幻想点燃她们的男人。在每种情况下，他们都无法达到他们梦想的新安全感，在那里他们最终可以实现与另一个男人完全结合的感觉。在每种情况下，他们都开始陷入困境和挣扎：一部分人仍然希望继续前进，一部分人现在渴望回到他们如此鲁莽地放弃的沉闷的安全感。《安娜·卡列尼娜》对“分裂的自我”有精彩的描述，在沮丧阶段的最高峰，安娜告诉她的丈夫：
Both Anna Karenina and Emma Bovary leave the dull, inadequate security of their marriages for men who set them on fire with a fantasy of romantic passion. In each case they cannot reach the new security they dream of, where they can at last achieve the sense of total union with another man. In each case they begin to flounder and struggle: part of them still wishing to push onward, part now longing to get back to the dull security they so recklessly abandoned. In Anna Karenina there is that superb description of the ‘divided self’ when, at the height of the Frustration Stage, Anna tells her husband:
“我心里还有另一个……我害怕她。” 是她爱上了另一个……那个另一个不是我。”
‘there is another in me... I am afraid of her. It was she who fell in love with the other one ... that other is not I.’
但最终获胜的是黑暗的“另一个自我”，导致安娜最后一次拒绝卡列宁，并不可挽回地与渥伦斯基结盟。她刚这样做完，她的爱人就开始溜走，就像鬼火一样，让她在可怕的最后时刻瓦解，独自一人，把自己扔到前进的火车的车轮下。
But it is the dark ‘other self’ which eventually wins, leading Anna to reject Karenin for the last time and to throw in her lot irrevocably with Vronsky. No sooner has she done so than her lover begins to slip away, a will o’ the wisp, leaving her to dis-integrate towards that terrible final moment when, all alone, she flings herself beneath the wheels of the advancing train.
悲剧男女主角的要点在于，他们最终完全孤独（即使偶尔像邦妮和克莱德一样，男女主角一起死去），完全与社会其他部分隔绝。他们被自己的某些部分所吸引，采取了一种从根本上来说是自私的行动方针，将某种以自我为中心的欲望置于一切其他考虑之上，将他们与自己隔离开来。现实和其他人。最初，在梦想阶段，他们成功地将自己的意志强加于世界和周围的人。他们违反了规则，而且似乎还能逃脱惩罚，因为他们掌握了主动权，而且其他人还没有完全意识到他们在做什么。
The point about the heroes and heroines of Tragedy is that they end up utterly alone (even if, occasionally, like Bonnie and Clyde, hero and heroine die together), completely cut off from the rest of society. They have been drawn by some part of themselves into a course of action which is fundamentally selfish, putting some egocentric desire above every other consideration, isolating them both from reality and from other people. Initially, in the Dream Stage, they succeed in imposing their will on the world and the people around them. They have broken the rules and seem to be getting away with it, because they have seized the initiative and because other people are not yet fully aware of what they are up to.
但渐渐地，其他人开始明白他们所做的事情的真相。他们周围的人开始反对。英雄或女英雄首先与他人为敌，现在我们看到社会的其他人逐渐与他们为敌。
But gradually the truth of what they are doing begins to dawn on others. Those around them begin to constellate in opposition. The hero or heroine having first set themselves against others, we now see the rest of society gradually setting itself against them.
最终，男女主人公将原本围绕着他们的关系网络撕碎、践踏成碎片，只剩下孤独一人。在其他类型的故事中，趋势是在结尾时男女主人公围绕着中心联盟普遍聚集在一起，而在悲剧中，情况恰恰相反。男女主人公在各个方面都存在分裂：他们自己内部分裂，与他们的“另一个自我”分裂，与社会的其他部分分裂，而社会的其他部分聚集在一起只是为了包容他们的毁灭。完全与世隔绝，剩下的就是他们的生命应该被暴力地熄灭。
Finally, having torn and trampled the network of relationships originally surrounding them into shreds, the hero or heroine is left alone. Whereas in other types of story the tendency is for a general gathering together at the end, round the central union of the hero and the heroine, in Tragedy exactly the reverse happens. The hero and heroine are divided in every way: split within themselves, split from their ‘other self’, split from the rest of society, which has gathered together only to encompass their destruction. Entirely isolated, all that is left is that their life should be violently extinguished.
在这个不完整、以自我为中心的人物遭遇孤独和暴力结局的形象中，我们可能会认识到故事中另一个我们非常熟悉的人物的基本特征，我们已经在完全不同的背景下见过他了。在下一章的开始，我们将探讨悲剧的男女主人公和我们之前从一个非常不同的角度遇到的怪物之间出现的一些惊人的相似之处。
In this image of an incomplete, egocentric figure who meets a lonely and violent end, we may recognise the essential characteristics of another deeply familiar figure from stories, whom we have already met in quite another context. We begin the next chapter by exploring some of the striking parallels which emerge between the hero or heroine of Tragedy and that figure we previously encountered, from a very different standpoint, as the Monster.
第10章
悲剧（三）：英雄变怪物
Chapter 10
Tragedy (III): The Hero as Monster
“我被削减了这个公平的比例，
‘I that am curtail’d of this fair proportion,
通过掩饰自然而欺骗了特征，
Cheated of feature by dissembling nature,
变形的，未完成的，在我的时间之前发送的
Deform’d, unfiinish’d, sent before my time
进入这个呼吸的世界，稀缺的一半化妆......
Into this breathing world, scarce half made up ...
不甘心消磨时光
Have no delight to pass away the time
除非在阳光下窥探我的影子，
Unless to spy my shadow in the sun,
并下降我自己的畸形。
And descant on mine own deformity.
因此，既然我无法证明我是情人，
And therefore, since I cannot prove a lover,
为了度过这些公平、美好的日子，
To entertain these fair, well spoken days,
我决心证明自己是个恶棍。”
I am determined to prove a villain.’
理查三世, i.1
Richard III, i.1
当我们听到一个扭曲的驼背在故事开头说出这些话时，他对自己的身体和道德畸形感到欣喜，我们毫不费力地立即认出他是一个“怪物”。事实上，正如莎士比亚所描绘的那样，格洛斯特的理查德是所有故事讲述中最明显的怪物人物之一。
When we hear these words spoken at the beginning of a story by a twisted hunch-back, exulting in his physical and moral deformity, we have little difficulty in recognising him at once as a ‘monster’. Indeed Richard of Gloster, as portrayed by Shakespeare, is one of the most explicitly monstrous figures in all storytelling.
因为我们是通过他的眼睛来追踪这个故事的，所以理查三世是一场悲剧。我们看到他，在他为世界戴上的“光”魅力面具后面，在堆积如山的尸体上无情地密谋着夺取王位。我们以熟悉的悲剧方式看到他不断增长的野心和背叛给恐惧和怀疑投下了越来越长的阴影——直到最后，里士满亨利伯爵的周围开始出现对他的积极反对。
Since we are following the story, as it were, through his eyes, Richard III is a Tragedy. We see him, behind the ‘light’ mask of charm he wears to the world, plotting his way ruthlessly to the throne, over a mounting pile of corpses. In familiar tragic manner we see his mounting ambition and treachery casting an ever-longer shadow of fear and suspicion – until at last positive opposition to him begins to constellate round the figure of Henry Earl of Richmond.
但此时此刻，当我们看到里士满登陆英格兰，决心寻找并消灭那只“可怜的、血腥的、篡位的野猪”，它“现在就生活在这个岛的中心”，就好像我们被赋予了一个完全看到另一个情节。亨利就像《战胜怪物》故事中勇敢的年轻英雄一样，出发去对抗并推翻一个高大的邪恶人物。在博斯沃思之战前夕，我们再次通过理查德的眼睛看到事件，怪物最终被逼入绝境，最终进入噩梦阶段：当他看到受害者的鬼魂的可怕行列时，他成为“分裂的自我”。受到“懦夫良心”的打击，他认识到自己犯下的罪行让他孤身一人。第二天，里士满与理查德对峙并杀死了他。欣喜若狂“这一天是我们的，该死的狗被杀了”。和许多其他怪物杀手一样，
But at this point, when we see Richmond landing in England, determined to seek out and destroy the ‘wretched, bloody and usurping boar’ who ‘lives even now at the centre of this isle’, it is as if we are being given a glimpse of another plot altogether. Henry is just like the brave young hero of an Overcoming the Monster story, setting out to confront and overthrow a towering figure of evil. On the eve of the battle of Bosworth we return to see events through Richard’s eyes, the monster cornered at last, finally into the Nightmare Stage: a ‘divided self’ as he sees the fearful procession of his victims’ ghosts. Stricken by ‘coward conscience’, he recognises how his foul crimes have left him all alone. The next day Richmond confronts Richard and kills him. exulting ‘the day is ours, the bloody dog is slain’. Like many other monster-slayers, Richmond then succeeds to the kingdom and wins the hand of his chosen queen, the ‘true’ Elizabeth.
换句话说，我们在这里看到这两个情节——悲剧和战胜怪物——可能经常从两个截然不同的角度看待相同的基本事件模式。如果我们从以下角度看大卫和歌利亚的故事从歌利亚的角度来看，这似乎是一场悲剧的结束。相反，我们在某种悲剧中看到的是一个人可能变成“怪物”的过程。我们正在向我们展示“怪物”最初是如何形成的。《杰基尔博士和海德先生》的故事讲述了一个看似令人尊敬的医生如何一步步变成一个丑陋畸形的怪物海德的故事。《麦克白》的故事讲述了一个人人敬佩的成功士兵如何逐渐转变为剧中后期的怪物，而麦克德夫则扮演了怪物杀手的角色——甚至连麦克德夫对麦克白说的最后一句话也是如此。退出战斗：
In other words, we see here how these two plots – Tragedy and Overcoming the Monster – may often be looking at the same basic pattern of events from two quite different points of view. If we were to look at the story of David and Goliath from Goliath’s point of view, it would seem like the end of a Tragedy. Conversely, what we are seeing in a certain kind of Tragedy is the process whereby a human being may be transformed into a ‘monster’. We are being shown how a ‘monster’ comes into being in the first place. The story of Dr Jekyll and Mr Hyde is the story of how a seemingly respectable doctor is transformed, step by step, into a hideous, deformed monster, Hyde. The story of Macbeth shows how a successful soldier, admired by everyone, is gradually transformed into the monster of the later stages of the play, with Macduff cast in the role of monster-slayer – even down to Macduff’s last words to Macbeth, as they exit fighting:
“我们会拥有你，就像我们的稀有怪物一样，
‘We’ll have thee, as our rarer monsters are,
画在杆子上，并写下
painted upon a pole, and underwrit
在这里你可能会看到暴君。
Here you may see the tyrant.’
亨伯特·亨伯特在揭露他对小女孩的扭曲的爱以及他对洛丽塔母亲的不道德的无情行为时，逐渐暴露出自己是一个怪物，最终可能对奎尔蒂犯下令人震惊的冷血谋杀案。《道林·格雷的画像》中的肖像无情地反映了一个美丽的年轻人逐渐腐败成一个“丑陋、满脸皱纹、令人厌恶”的怪物。如果我们回想一下在前一章中我们看到的讲故事中“怪物”典型的三种主要行为模式——怪物作为掠夺者、坚守者和复仇者——我们就会看到这与悲剧英雄在经历其兴衰阶段时的行为。当我们第一次见到麦克白或亨伯特·亨伯特时，我们看到他们变成了掠夺者，决心获得某种奖品：王权、洛丽塔。然后我们看到他们在赢得了自己渴望的目标后，像坚守一样坚定地坚持下去。最后，我们看到他们的财产受到挑战，当他们盲目地扮演复仇者的角色时：麦克白下令杀死麦克达夫的家人，
Humbert Humbert, as he discloses his perverse love for little girls and the amoral heartlessness of his behaviour towards Lolita’s mother, gradually reveals himself as the monster who can end up by committing the appalling cold-blooded murder of Quilty. The portrait in The Picture of Dorian Gray pitilessly reflects the gradual corruption of a beautiful young man into a monster ‘hideous, wrinkled and loathsome’ to behold. And if we recall the three chief modes of behaviour which, in an earlier chapter, we saw as typical of the ‘Monster’ in storytelling – the Monster as Predator, as Holdfast and as Avenger – we can see how closely this may correspond to the behaviour of the tragic hero, as he goes through the stages of his rise and fall. When we first meet Macbeth or Humbert Humbert, we see them turning into Predators, determined to get hold of some prize: the kingship, Lolita. We then see them, having won the object of their desire, determined Holdfast-like to hang on to it. Finally we see their possession challenged, when they lash out blindly in the role of Avenger: Macbeth ordering the killing of Macduff’s household, Humbert killing Quilty.
但在这一点上，我们当然必须认识到，悲剧的男女主人公绝不是那么彻底的“怪物”。例如，很难将伊卡洛斯视为一个愚蠢的男孩，他只伤害自己，不伤害任何人。布鲁图斯杀死凯撒并不是为了满足自己的野心，而是因为他最终承认凯撒的野心已经成为对公共利益的威胁。他作为一个怪物。就连安东尼本人也几乎没有变成怪物，尽管他的行为肯定导致了数千人的死亡。他作为一个“分裂的自我”而被毁灭，是因为软弱和愚蠢的爱，而不是因为与真正的怪物密不可分的过度无情。
But at this point we must recognise, of course, that by no means all the heroes and heroines of Tragedy are such complete ‘monsters’. It is hard to see Icarus, for instance, as anything more than a foolish boy, who harms no one but himself. Brutus, who killed Caesar not to gratify his own ambition but because he finally accepted that Caesar’s ambition had become a threat to the public good, would hardly have been given by his opponents the epitaph ‘the noblest Roman of them all’ if they had seen him as a monster. Even Antony himself scarcely became a monster, although his actions must have led to the deaths of thousands. He was brought to his destruction as a ‘divided self’ by weakness and by a foolish love, rather than by that excess of ruthlessness inseparable from a true monster.
事实上，我们现在可以开始从一个相当不同的角度来看待悲剧。到目前为止，我们基本上是根据情节的轮廓来看待它的。现在，我们必须根据男女主人公主要是他人痛苦的恶意制造者，或者仅仅是他或她自己的愚蠢行为的受害者的程度，来考虑该情节框架内存在的等级。在前面的章节中，在不同的上下文中，我们区分了“主动”和“被动”角色。在这里我们采用了大致相同的区别，并且显然，更“活跃”、更具攻击性的悲剧英雄——麦克白、理查三世、多里安·格雷、海德先生——最完全符合“怪物”的状况。
In fact we can now begin to look at Tragedy from a rather different perspective. So far we have been looking at it essentially in terms of the outlines of the plot. Now we must take into account the gradations which exist within the framework of that plot, according to the extent to which the hero or heroine is primarily the malevolent author of other people’s sufferings, or is just a victim of his or her own folly. In an earlier chapter, and a different context, we distinguished between ‘active’ and ‘passive’ characters. Here we employ much the same distinction, and it is obviously the more ‘active’, aggressive tragic heroes – Macbeth, Richard III, Dorian Gray, Mr Hyde – who most completely correspond to the condition of the ‘monster’.
另一方面，那些最不可怕的人分为两类。第一个包括那些虽然以自我为中心，但最“被动”并且显然是受害者的英雄和女英雄，比如朱尔斯和吉姆，他们看起来完全没有男子气概和无能，因为他们被日益疯狂的凯瑟琳拖垮了（正是她成为了怪物，故事中主要的黑暗人物）。可怜的唐·何塞只不过是卡门诡计的被动受害者，直到最后一幕，他因失去卡门而绝望沮丧，变成了一个愤怒的怪物。甚至浮士德也更像是一个受害者，而不是一个“积极的”英雄，因为总是梅菲斯特在幕后操纵并愚弄他，
On the other hand, those who are least monstrous fall into two groups. The first includes those heroes and heroines who, although egocentric, are most ‘passive’ and obviously victims, like Jules and Jim who seem simply unmanly and impotent as they are drawn down to destruction by the increasingly mad Catherine (it is she who becomes the monster, the chief dark figure of the story). The pitiful Don José is little more than a passive victim of Carmen’s wiles, until the closing scene where he is turned into a raging monster by his desperate frustration at losing her. Even Faustus is much more a victim than an ‘active’ hero, because it is always Mephistopheles who is pulling the strings and making a fool of him, and he does no serious or obvious harm to anyone else (although in Goethe’s version Faust is made to violate and then brutally reject an Innocent Young Girl, Margareta, whose consequent death marks the climax of Part One of the story).
另一类包括那些英雄，他们的动机是出于对更高、更高尚的事物的考虑，而不仅仅是个人的满足。到目前为止，我们所看到的例子中很少有可能属于这样的标题，除了布鲁图斯：尽管即使是他，在经历了一场揭露性的内心道德斗争之后，也冷血地谋杀了他最年长的人之一。朋友们，在另外两个人的怂恿下，“嫉妒的”卡斯卡和“瘦而饥饿”的卡修斯，他们的动机可能并不那么明显高尚。
The other category includes those heroes whose motivation is tinged by consideration for something higher and nobler than just their own personal gratification. Few of the examples we have looked at so far might seem to fall under such a heading, with the exception of Brutus: though even he, after a revealing inner moral struggle, puts his hand to the cold-blooded murder of one of his oldest friends, at the instigation of two others, the ‘envious’ Casca and the ‘lean and hungry’ Cassius, whose motivation may not be so obviously high-minded.
但在这里，当我们考虑悲剧的可能性时，英雄可能有一些救赎的特征，我们开始完全进入这个情节的另一个层面。
But here, as we consider the possibility of tragedies where there may be some redeeming feature to the hero, we are beginning to move on to another level of this plot altogether.
救赎与成就的悲剧
Tragedies of redemption and fulfilment
到目前为止，我们所看到的悲剧的本质是，它表现了一个英雄或女英雄犯下了一些严重的罪行，然后一步一步地付出代价。在这些故事中，我们从来没有对黑暗与光明之间的平衡存在太多疑问。一开始，男主角或女主角可能同时具有光明和黑暗的品质。但他们的黑暗面占了上风，当他们继续走在灾难性的道路上，没有严重的偏差或改变路线时，他们往往变得越来越黑暗，而故事中的光明越来越多地出现在他们之外：首先也是最令人心酸的是他们的无辜受害者；最后，胜利地在那些聚集起来反对推翻他们的人身上。这就是为什么一些悲剧，例如麦克白或理查三世，甚至可以以庄严欢乐的基调结束。这个巨大的、剥夺生命的怪物，越来越多地在周围投下阴影，终于被推翻了。生命可以再次开始流动。最终黑暗英雄的毁灭是光明的胜利。
The essence of Tragedy as we have seen it so far is that it shows a hero or heroine who commits some great offence and is then drawn down, step by step, into paying the price. We are never in much doubt in such stories as to where the balance lies between darkness and light. At the outset, the hero or heroine may be made up of both light and dark qualities. But their dark side prevails, and as they remain set on their disastrous course without serious deviation or change of course, they tend to become darker and darker, while the light in the story constellates more and more outside them: first and most poignantly in their innocent victims; finally, triumphantly, in those who gather in opposition to overthrow them. This is why some tragedies, such as Macbeth or Richard III, can even end on a note of solemn rejoicing. The great life-denying monster who has increasingly cast his shadow on all around has at last been overthrown. Life can begin to flow again. Ultimately the destruction of the dark hero has been a victory for light.
但我们即将看到一些熟悉的悲剧例子，其中黑暗与光明之间的平衡截然不同。首先我们来看看两个故事，它们以熟悉的悲剧方式开始，但英雄在哪里而不是盲目地走向毁灭。随着故事的进展，他开始真正改变心意。随着他进一步陷入自我中心，他并没有变得越来越黑暗，而是开始变成一个光明的人物，尽管这最终不足以使他免于毁灭。接下来我们来看另一个故事，故事的开头是主人公显露出致命的弱点：但在这里，与其说是内心的改变改变了结局的基调，不如说是他恢复了男子气概，使他能够将死亡变成现实。光荣的胜利。然后我们将看到一场伟大的悲剧，英雄最终成功地清除了感染他的黑暗，并获得了释放。最后，我们将看看两个故事，它们与英雄是怪物的故事相反，黑暗的中心。这些悲剧与通常的模式完全相反，英雄或男女主角在整个故事中几乎完全是光明的，而最终吞噬他们的黑暗完全来自他们之外的社会。
But we are about to look at some familiar examples of Tragedy where the balance between darkness and light falls rather differently. First we are going to look at two stories which begin in familiar tragic manner, but where the hero does not just plunge blindly on towards destruction. As the story progresses he begins to go through a real change of heart. Instead of becoming darker and darker as he gets further locked into egocentricity, he begins to turn into a light figure, even though it is not enough ultimately to save him from destruction. Next we shall look at another story which begins with the hero showing a fatal weakness: but here it is not so much a change of heart which alters the tone of the ending as his recovery of manly strength, which enables him to turn his death into a glorious victory. Then we shall look at a great Tragedy where the hero eventually manages to purge himself of the darkness which has infected him, and is released. Finally we shall look at two stories right at the other end of the spectrum from those in which the hero is a monster, the centre of darkness. These are tragedies where, by a complete inversion of the usual pattern, the hero or the hero and heroine are almost wholly light throughout the story, and where the darkness which finally engulfs them springs entirely from society outside them.
这六个故事各自呈现悲剧主题，但侧重点略有不同。在它们之间，它们可能有助于扩展对悲剧的介绍性调查，以或多或少地包括这一极其重要的情节能够实现的基本变化的全部范围。
Each of these six stories presents the tragic theme with a slightly different emphasis. Between them they may serve to extend this introductory survey of Tragedy to include more or less the full range of basic variations of which this extraordinarily important plot is capable.
李尔王
King Lear
在《李尔王》的开头我们毫无疑问，英雄即将犯下一个潜在的悲剧性错误，他希望摆脱王权的忧虑和责任，同时仍然希望享受作为国王所附带的荣誉和特权。他计划将自己的王国分给三个女儿，并通过询问她们有多爱他来考验她们。但当高纳里尔和里根用华丽而空洞的方式表达他们的爱情时，很明显他让自己被欺骗了。当最小的科迪莉亚做了一个简单的小声明，说她爱他的程度不超过或不低于正确和适当的程度时，他再也无法认清真相了。他愤怒地拒绝了她，他的“好天使”；她和同样诚实的肯特一起流亡，悲剧的种子就这样播下了。
At the start of King Lear we are left in no doubt that the hero is about to make a potentially tragic error, His wishes to divest himself of the cares and responsibilities of kingship, while still wishing to enjoy the honours and privileges which attach to being a king. He plans to divide his kingdom between his three daughters, and puts them to a test by asking them how much they love him. But when Goneril and Reagan make flowery, empty protestations of their love, it is obvious that he is allowing himself to be deceived. When Cordelia, the youngest, makes a plain little declaration that she loves him no more and no less than is right and proper, he can no longer recognise the truth at all. He angrily rejects her, his ‘good angel’; she goes off into exile with the equally honest Kent, and the seeds of Tragedy are sown.
虽然李尔的判断力已经变得黑暗，并导致他做出无情的行为并拒绝真爱，但很明显，他主要是自己弱点的受害者，而不是一个活跃的怪物。故事中真正的黑暗根源，是他的弱点所释放的怪物，是他无情、虚伪的女儿戈纳里尔和里根，她们继承了他王国的权力。而作为即将上演的孝顺背叛戏剧的阴影，我们也看到年老的格洛斯特同样被他邪恶的私生子埃德蒙的“甜言蜜语”所愚弄，因为他拒绝了他可爱而真正的儿子埃德加。
Although it is Lear’s judgement which has been darkened, and which has led him into acting heartlessly and rejecting true love, it is already evident that he is primarily a victim of his own weakness rather than an active monster. The real sources of darkness in the story, the monsters unleashed by his weakness, are his heartless, false daughters Goneril and Reagan who inherit the power in his kingdom; while as a shadow to the drama of filial treachery which is about to unfold we also see the ageing Gloucester being likewise fooled by the ‘sweet words’ of his villainous bastard son Edmund, as he rejects his loving and true son Edgar.
李尔幻想的梦幻阶段，虽然他可以想象自己仍然享有国王的荣耀和两个黑暗女儿的爱情，但并没有持续多久。很快，沮丧开始出现，高纳里尔和里根开始越来越轻蔑地对待他们的父亲，直到他们完全拒绝他。
The Dream Stage of Lear’s fantasy, while he can imagine that he still enjoys the honour of a king and the love of his two dark daughters, does not last long. Soon Frustration sets in, as Goneril and Reagan begin to treat their father with increasing contempt, until they reject him altogether.
噩梦阶段开始，可怜虚弱的老人在荒凉的荒原上度过了一个风雨交加的夜晚，只有愚者和愚者陪伴着他。忠诚的肯特，从流亡归来，乔装打扮为国王服务。从现在开始，爱与背叛、光明与黑暗之间的冲突，将这部剧带入复杂的境地，而这种复杂性是更直接的悲剧类型很少触及的。首先，作为对即将发生的事情的预感，我们看到了格洛斯特的戏剧，他在拒绝了自己的亲生儿子埃德加之后，通过帮助无助的李尔重新加入了光明的力量，为此他的眼睛被黑暗姐妹撕掉了。现在，他像李尔王一样无助，被他被拒绝但仍然深爱的儿子埃德加救了，埃德加乔装来到他身边，治愈了他自杀的念头。然后，同样，被拒绝但仍然充满爱的科迪莉亚从法国赶来营救她的父亲并护理他恢复理智，
The Nightmare Stage begins, with the poor, weak old man wandering through a stormy night on the desolate heath, accompanied only by the Fool and by the loyal Kent, who has returned from exile to serve his king in disguise. From now on the conflict between love and treachery, light and dark, carries the play into reaches of complexity such as are rarely touched on by the more straightforward type of Tragedy. Firstly, as a premonition of what is to come, we see the drama of Gloucester who, after rejecting his true son Edgar, rejoins the forces of light by ministering to the helpless Lear, for which he has his eyes torn out by the dark sisters. Now as helpless as Lear, he is rescued by his rejected but still loving son Edgar, who comes to him in disguise and cures him of his desire to commit suicide. Then, similarly, the rejected but still loving Cordelia arrives from France to rescue her father and nurse him back to sanity, in such a way that for the first time in the story Lear begins to see the truth and to recognise and feel real love.
最后发生了一场战斗，黑暗势力似乎取得了胜利，李尔和科迪莉亚被俘。但几乎立刻，黑暗势力就开始瓦解。里根、高纳里尔和埃德蒙这三个主要的黑暗人物，都被卷入了自己多重背叛的漩涡中，互相毁灭。不幸的是，作为占据他们的邪恶的最后遗产，他们放弃了绞死科迪莉亚的命令。纯洁无私的爱的至高无上、光辉灿烂的象征，整个故事中的“善良天使”，已被处死——李尔王心碎而死。我们在结束莎士比亚所有戏剧中最悲惨的戏剧时感到，尽管爱已经开始发挥作用，从普遍的灾难中赢得某种程度的救赎，但这还不够。事实证明，李尔王最初的无情愚蠢行为所释放的黑暗力量过于强大。虽然他们自己最终带来了自己的毁灭，但到最后他们也和他们一起熄灭了“光”，只留下了它闪亮的记忆。
Finally there is a battle, in which the forces of darkness seem to be victorious, with Lear and Cordelia taken prisoner. But almost at once the forces of darkness fall out amongst themselves. The three chief dark figures, Reagan, Goneril and Edmund, having been drawn down into the vortex of their own multiple treachery, all destroy each other. Unfortunately, as a last legacy of the evil that has possessed them, they have left the order by which Cordelia is hanged. The supreme, shining symbol of pure and selfless love, the ‘good angel’ of the entire story, has been put to death – and Lear dies broken-hearted. We end this bleakest of all Shakespeare’s plays with the sense that, although love had begun its work to win some degree of redemption from the general catastrophe, it was not enough. The forces of darkness unleashed by Lear’s initial act of heartless folly had proved too powerful. And although they themselves had ultimately brought about their own destruction, by the end they have extinguished ‘light’ with them, leaving only its shining memory behind.
唐豪瑟
Tannhäuser
瓦格纳的歌剧《唐怀瑟》是一部截然不同的悲剧，它展现了主人公经历了深刻而积极的内心转变。再说一次，走向光明并不足以让英雄免于灾难，但这一次在结尾处更多了一丝希望。
A very different tragedy which shows the hero going through a profound and positive change of heart is Wagner’s opera Tannhäuser. Again, the move towards light is not enough to save the hero from catastrophe, but this time there is more of a hint of hope at the end.
当我们第一次见到唐怀瑟时，他正处于故事的挫折阶段。一年来，他一直生活在维纳斯山上，在漫长的梦境中与女神一起享受肉欲的乐趣。但他发现这个梦想并不现实，现在他渴望一些更令人满意的东西。逃回现实世界的他，发现一场歌唱比赛已经安排好了，而奖品正是爱他、等待他已久的纯洁美丽的伊丽莎白之手。她是他的‘好天使’。唐豪瑟参加了比赛，但当轮到他唱歌时，他仍然受到他的“邪恶天使”维纳斯的毒害，他情不自禁地无耻地歌唱她的快乐。除了忠实的伊丽莎白之外，每个人都感到愤怒。当英雄再次“醒悟”时，他充满了悔恨，
When we first meet Tannhäuser, he is in the Frustration Stage of his story. For a year he has been living on the Venusberg, the mountain of Venus, enjoying with the goddess the delights of sensual love, in a prolonged Dream Stage. But he has found the dream insubstantial, and now he yearns for something more satisfying. Escaping back to the real world, he finds that a song contest has been arranged and that the prize is the hand of the pure and beautiful Elizabeth, who has long loved and waited for him. She is his ‘good angel’. Tannhäuser enters the contest, but when his turn comes to sing he is still so infected with the poison of Venus, his ‘evil angel’, that he cannot help singing shamelessly of her delights. Everyone is outraged, except the faithful Elizabeth. When the hero ‘comes to himself’ again, he is filled with remorse, and Elizabeth’s father orders him to go to Rome to seek full absolution from the Pope.
很长一段时间过去了，伊丽莎白徒劳地出去等待唐怀瑟回来。她放弃了希望。最后他出现了，心碎又疲惫，我们得知教皇已下令，他不可能给予坦怀瑟宽恕，就像他的教皇幕僚不可能提出离开一样。绝望中的唐豪瑟最后一次试图回到与维纳斯在一起的梦境生活，维纳斯出现在他的幻象中，但当他呼唤伊丽莎白的名字时，女神消失了。事实上，伊丽莎白同样对与她的爱人结合感到绝望，最终死于悲伤。唐怀瑟看到她的尸体被抬过去，拥抱了她然后死去。朝圣者手持教皇的木杖入场。它已经长出了叶子和花朵。唐豪瑟的罪孽已被洗净。他终于与他的“善良天使”团聚了，哪怕只是死亡。
A long time elapses, and Elizabeth goes out to watch in vain for Tannhäuser’s return. She gives up hope. Finally he appears, broken and weary, and we learn that the Pope has decreed it would no more be possible for him to grant Tannhäuser forgiveness than for his papal staff to bring forth leaves. Tannhäuser, in despair, is for the last time tempted to return to his dream-life with Venus, who appears to him in a vision, but when he invokes the name of Elizabeth, the goddess disappears. In fact Elizabeth, equally despairing of ever being united with her love, had died of sorrow. Tannhäuser sees her body being carried past, embraces her and dies. Pilgrims enter, carrying the Pope’s wooden staff. It has put forth both leaves and flowers. Tannhäuser’s sin has been purged. He has at last been united with his ‘good angel’, if only in death.
《唐怀瑟》和《李尔王》都展现了他们的主人公在“好天使”的启发下经历了内心的转变，这开始扭转情节的下降趋势，将其再次向上拉向幸福的结局——尽管两人都没有完全达到这个结局。在我们的下一个例子中，下降趋势也同样逆转，尽管这一次不是通过英雄发现他的真爱能力，而是通过他恢复了男性力量。再一次，这并不足以把他从最初的弱点所造成的最终灾难中拯救出来，但他的“回归自我”足以改变故事结局的整个性格。
Both Tannhäuser and King Lear show their hero going through a change of heart under the inspiration of his ‘good angel’, which begins to reverse the downward tendency of the plot, drawing it upwards again towards a happy ending – though neither quite reach it. In our next example, the downward tendency is similarly reversed, although this time not through the hero discovering his capacity for true love so much as through him recovering his masculine strength. Once again it is not enough to save him from the ultimate disaster which his initial weakness has set in train, but his ‘return to himself’ is sufficient to change the whole character of the story’s ending.
参孙
Samson
二十年来，参孙一直担任以色列的士师。我们对他了解三件事。首先，他拥有超人的力量，这一点尤其重要，因为他的人民与致命的对手非利士人不断发生冲突。第二是他有一头长发，其中隐藏着他力量的秘密；一旦被砍断，他就会变得和普通凡人一样虚弱。第三是他已经有了另一个弱点，对于女人。
For twenty years Samson has been a judge over Israel. We know three things about him. The first is that he possesses superhuman strength, which is particularly important since his people are locked in continual conflict with their deadly rivals, the Philistines. The second is that he has long hair, in which somehow the secret of his strength resides; if it is ever cut, he will become as weak as any ordinary mortal. The third is that he already has another weakness, for women.
有一天，他出去和一位妓女睡觉，当他和她在一起时，他差点被非利士人困住。只有他超人的力量才能让他逃脱。但这是对即将发生的事情的警告。接下来，他爱上了另一个女人黛利拉，这一次非利士人更加狡猾。他们意识到，利用他的优越功能和体力来对付他是没有好处的：他们必须深入了解他的弱点，他们贿赂黛利拉，让她用她充满爱意的诡计，从他身上骗出他的力量所在的秘密。她尝试了三次，每次他都用误导性的答案将她推到一边。但当她坚持不懈，用古老的手段恳求“你不告诉我真相时，你怎么能说你爱我？”时，他把一切都投入到最后的尝试中，他最终致命地衰弱了。他透露了他的秘密，她等到他睡着了，把他的头发剃掉。当他醒来时，已经太晚了。他落入了非利士人的手中，力量太弱，无法逃脱。
One day he goes out to sleep with a prostitute, and while he is with her he is nearly trapped by the Philistines. Only his superhuman strength enables him to escape. But it is a warning of what is to come. Next he falls in love with another woman, Delilah, and this time the Philistines are more cunning. They realise that it is no good tackling him on his superior function, his physical strength: they must go behind it, to his weakness, and they bribe Delilah to use her loving wiles to wheedle out of him the secret of where his strength lies. Three times she tries, and each time he brushes her aside with a misleading answer. But when she persists, throwing everything into her final attempt by the age-old device of pleading ‘How can you say you love me when you won’t tell me the truth?’, he finally and fatally weakens. He reveals his secret, she waits until he is asleep and has his hair shaven off. When he wakes up, it is too late. He has fallen into the hands of the Philistines and is too weak to free himself.
从这个挫败阶段，参孙很快就被推入噩梦阶段，非利士人挖出了他的眼睛，“用黄铜脚镣”束缚他，“他在监狱里受苦”。但非利士人忘记了，当参孙在监狱里时，他的头发会重新长起来。
From this Frustration Stage, Samson is quickly thrust into the Nightmare Stage, when the Philistines put out his eyes, bind him ‘with fetters of brass’ and ‘he did grind in the prison house’. But what the Philistines forget is that, while he is in prison, Samson’s hair will grow again.
他们举办盛大的宴会，庆祝捕获死敌。三千非利士人聚集在一座大殿里，他们喝醉了呼吁把参孙带进来，这样他们就可以嘲笑他了。他要求带他的男孩把手放在建筑物的柱子上，这样他就可以靠在柱子上。然后，参孙呼唤他的上帝，用他现在恢复的力量最后一次超人的力量，把整座建筑推倒了，杀死了里面的所有人：“所以他死时杀的人比他在他死时杀的人还多。”生活'。这是他最大的胜利。
They throw a great feast, to celebrate their capture of their deadly enemy. Three thousand Philistines gather in a great building, and when they are drunk they call for Samson to be brought in so they can mock him. He asks the boy who is leading him to guide his hand to the pillars of the building, so he can lean on them. Then, calling on his God, and with a final superhuman heave of his now recovered strength, Samson pulls the whole building down, killing everyone in it: ‘so the dead which he slew at his death were more than they which he slew in his life’. It is his greatest victory.
我们必须回到这个故事提出的一些重要问题，因为它们对讲故事的本质以及讲述基本故事的不同心理层面具有核心影响。例如，当故事呈现给我们时，非利士人被描绘成完全黑暗、不可救药的邪恶；尽管他们的行为无疑与以色列人自己的行为没有什么不同，如果他们抓住了非利士人的冠军和大力士（例如，歌利亚的写照）。在这方面，参孙对“邪恶”的胜利只能是片面的：我们很难将其视为一项伟大的生命更新之举，是生命对死亡的绝对胜利。但在我们的下一个例子中，文学中最深刻的悲剧之一，我们直奔主题：
There are important issues raised by this tale to which we shall have to return, because they have implications central to the nature of storytelling and the different psychological levels on which the basic stories can be told. As the story is presented to us, for instance, the Philistines are cast as wholly dark, unredeemedly evil; although they doubtless behaved little differently from the way the Israelites themselves would have done if they had caught the champion and strongman of the Philistines (e.g., the portrayal of Goliath). In this respect Samson’s victory over ‘evil’ can only be seen in partial terms: we can hardly see it as a great life-renewing act, an absolute victory for life over death. But in our next example, one of the most profound tragedies in literature, we get right down to bedrock: with a play which looks head on at one of the most fundamental questions which Tragedy can pose.
奥瑞斯提亚
The Oresteia
关于希腊悲剧，有一个奇怪的事实：从公元前五世纪的黄金时代幸存下来的戏剧很少以基本的五阶段形式简单地呈现悲剧主题。从亚里士多德那里，我们知道了希腊人发展起来的一般理论，该理论解释了他们发现自己以这种方式讲故事的事实：其核心部分是悲剧应该表现一个英雄或女英雄，否则品格高贵，但具有致命的弱点。缺陷使他们陷入困境，导致他们的毁灭。这似乎是对参孙故事的完美总结。事实上，我们所看到的许多悲剧都是如此。然而，在实践中，希腊悲剧家的优势之一（就像希腊人一般的思想一样）是他们理解人类存在的复杂性的能力。他们对非黑即白的答案并不满意。他们总是在拐角处寻找另一个要问的问题。尽管亚里士多德有一句名言，一个令人满意的故事应该有一个开始、中间和结尾，但他们总是在问“开始之前发生了什么？”、“结束之后发生了什么？”，这就是为什么他们的故事中有如此多的原因。神话似乎无休无止地蜿蜒曲折，每一集在结束之前都为下一集播下种子。悲剧提出的最基本的问题之一是：如果一个悲剧英雄的行为引起了如此大的反对，以至于他最终被其他人处死（毕竟这就是悲剧模式经常结束的地方），那么在道德上他会怎样做？杀死他的人就这样离开了吗？复仇者是否也有可能在杀死另一个人时（无论出于何种原因），也许没有被他试图对抗的邪恶之物所感染？难道其他人为了进一步报复，可能想反过来杀掉他吗？杀戮到哪里停止？在任何涉及邪恶和暴力冲突爆发的事件中，哪里可以说黑暗最终被消灭了呢？
It is a curious fact about Greek Tragedy that so few of the plays which have survived from its golden age in the fifth century BC present the tragic theme simply in its basic five-stage form. From Aristotle we know the general theory which the Greeks developed to account for the fact that they found themselves telling stories in this way: a central part of which was that tragedy should show a hero or heroine, otherwise noble in character, but with a fatal flaw which catches them out, leading to their destruction. This might seem a perfect summing up of the story of Samson; indeed of many of the tragedies we have been looking at. In practice, however, one of the strengths of the Greek tragedians (as of the Greek mind generally) was their capacity to appreciate the complexities of human existence. They were not satisfied with black-and-white answers. They were always looking round the corner for another question to ask. Despite Aristotle’s dictum that a satisfactory story should have a beginning, a middle and an end, they were always asking ‘what happened before the beginning?’, ‘what happened after the end?’, which is why so many of the stories in their mythology seem to meander on interminably, with each episode before its conclusion sowing the seeds for the next. And one of the most basic questions posed by Tragedy is this: if a tragic hero arouses such opposition by his actions that he is eventually put to death by someone else (which is after all where the tragic pattern so often ends up), where morally does that leave the person who has killed him? Is it not possible that the avenger too, in killing another human being (for whatever reason), may not have become infected by something of the very evil he is trying to counter? Is it not possible that someone else, in further revenge, may wish to kill him in turn? Where does the killing stop? Where, in any episode involving an outbreak of evil and violent conflict, can the darkness be said to have been finally eliminated?
这是古希腊现存唯一完整的悲剧三部曲——埃斯库罗斯的《奥瑞斯提亚》提出的问题。
This is the question posed by the only complete trilogy of tragedies to have survived from ancient Greece, the Oresteia of Aeschylus.
我们从伟大的迈锡尼国王阿伽门农从特洛伊战争胜利归来时所引发的悲剧循环开始。在他离开的这些年里，他的妻子克吕泰涅斯特拉与他的表弟埃吉斯托斯有着长期的通奸关系。看到丈夫回来的前景，她制定了一个谋杀他的奸诈计划，屈服于这样的幻想：她将能够嫁给埃吉斯托斯，并在迈锡尼安定下来，过上许多年的平静生活（期待阶段）。当阿伽门农回来时，她立即以一种特别令人震惊的方式犯下了黑暗的行为。她盛情款待了他，准备了热水澡，并在他躺在浴缸里时刺了他三刀（还有他带回家的特洛伊女先知卡桑德拉）。然后她走出宫殿，向全世界宣告她所做的一切，兴高采烈地描述她丈夫的血如何在她的打击下喷涌而出。三部曲的第一部剧，阿伽门农因此在她幻想的梦想舞台上结束，她和埃吉斯托斯为他们的拯救而欢欣鼓舞。
We begin with the tragic cycle which is unleashed when the great king of Mycenae, Agamemnon, returns home victorious from the Trojan War. During the years he has been away, his wife Clytemnaestra has enjoyed a long adulterous affair with his cousin Aegisthus. At the prospect of her husband returning, she conceives a treacherous plan to murder him, succumbing to the fantasy that she will then be able to marry Aegisthus and settle down to many more peaceful years of life in Mycenae (Anticipation Stage). When Agamemnon returns, she promptly commits the dark deed, in peculiarly shocking manner. She gives him a lavish welcome, prepares a hot bath and stabs him three times as he lies in it (along with the Trojan prophetess Cassandra whom he has brought home with him). She then comes out of the palace to proclaim to the world what she has done, exultantly describing how her husband’s blood had spurted forth at her blows. The first play of the trilogy, the Agamemnon, thus ends on the Dream Stage of her fantasy, as she and Aegisthus rejoice at their deliverance.
随着第二部剧《Choeophori》的开始，这对凶残的情侣进入了挫败阶段。克吕泰涅斯特拉正被不祥的梦所困扰。更糟糕的是，她与阿伽门农所生的儿子奥瑞斯忒斯，逃亡到流亡地，现在秘密返回迈锡尼，在那里他遇到了他的妹妹厄勒克特拉。他们密谋为父亲报仇：凶手们遭到了反对。俄瑞斯忒斯乔装打扮进入宫殿，并立即杀死了埃吉斯托斯。在让恶棍克吕泰涅斯特拉进入噩梦阶段后，他将她放在剑下，同时详细告诉她他对她的邪恶的看法，他也杀了她。怪物已经被打倒了。从克吕泰涅斯特拉构思谋杀她丈夫的计划开始的五个阶段的循环结束了。
As the second play, the Choeophori, begins, the murderous pair are into the Frustration Stage. Clytemnaestra is being troubled by ominous dreams. Worse, her son by Agamemnon, Orestes, who has escaped into exile, has now returned secretly to Mycenae where he meets his sister Electra. They conspire to avenge their father: opposition is constellating against the murderers. Orestes wins admittance to the palace by arriving in disguise and promptly kills Aegisthus. After putting the villainess Clytemnaestra through a Nightmare Stage, by holding her beneath his sword while telling her at length what he thinks of her wickedness, he kills her too. The monster has been overthrown. The five-stage cycle which began with Clytemnaestra conceiving the plan to murder her husband is concluded.
但突然间，胜利的复仇工具奥瑞斯忒斯发现自己被复仇女神（可怕的、尖叫的复仇女神）包围，并威胁要毁灭他。毕竟，他杀死了自己的母亲，犯下了可以想象到的最严重的罪行之一。谁能说这不应该成为新的悲剧循环的开始，并且他不应该为自己的罪行付出代价？正是这个问题是三部曲的结局剧《Eumenides》的主题。
But suddenly Orestes, the triumphant instrument of vengeance, finds himself surrounded by the Eumenides, the horrible, shrieking Furies, threatening him with destruction in turn. After all, he has committed one of the gravest crimes imaginable, by killing his own mother. Who is to say that this should not properly be the beginning of a new tragic cycle, and that he should not pay the price for his crime? Precisely this question is the theme of the concluding play of the trilogy, the Eumenides.
在尖叫、嘲讽的复仇女神的追击下，奥瑞斯忒斯试图前往希腊世界最神圣的地方——德尔斐的阿波罗神庙寻求庇护。在这里，他被告知必须去雅典见智慧女神雅典娜，她将最终决定正义所在。
Pursued by the shrieking, taunting Furies, Orestes tries to take sanctuary in the holiest spot of the Greek world, the temple of Apollo at Delphi. Here he is told that he must go to Athens to see the goddess of wisdom Athene, who will finally decide where justice lies.
该剧以俄瑞斯忒斯因生命受到审判而结束，复仇心切的复仇女神带头起诉。俄瑞斯忒斯为自己辩护，称自己犯了罪，但只是为了对更可怕的人进行正义的惩罚。此外，他已经因为不得不忍受复仇女神（也代表良心的折磨）的折磨而遭受了严重的痛苦。雅典娜最终同意，通过他的痛苦和悔恨，他已经洗清了自己的罪孽，应该被释放。欧美尼德家族因永久的承诺而得到安抚雅典人生活中的荣誉地位。这部剧以某种巨大的阴影终于被解除的感觉结束，让生活再次自由流动。
The play concludes with Orestes in effect on trial for his life, with the vengeful Furies leading for the prosecution. Orestes pleads in his own defence that he has committed a crime, but only in righteous punishment for one much more terrible. Furthermore he has already suffered grievously for it by having to endure the torments of the Furies (who also represent the torments of conscience). Athene finally agrees that, through his suffering and remorse, he has purged his sin and should be released. The Eumenides are conciliated by the promise of a permanent place of honour in Athenian life. The play ends with the sense of some huge shadow having at last been lifted, enabling life once again to flow free.
《天使报》论证的一个重要方面是普遍承认奥瑞斯特斯犯了罪，但他能够赎罪。换句话说，在实施复仇行动时，他已经成为一个黑暗人物（尽管没有像克吕泰涅斯特拉那样黑暗），只有通过忍受随后的痛苦，他才能再次成为一个光明人物。
An important aspect of the argument in the Eumenides is the general admission that Orestes has committed a crime, but that he had been able to expiate it. In other words, in committing his act of vengeance, he has become a dark figure (though nothing like so dark as Clytemnaestra), and only by enduring his subsequent sufferings has he won his way through to become a light figure again.
我们该如何看待那些中心人物或人物一点也不黑暗的悲剧呢？我们终于看到两个故事，中心人物与周围世界之间通常的黑暗与光明的平衡完全颠倒了。
What are we to make of tragedies where the central figure or figures are not dark at all? We come finally to two stories where the usual balance of darkness and light between the central figures and the world around them is completely reversed.
罗密欧与朱丽叶
Romeo and Juliet
罗密欧与朱丽叶的故事正是通过悲剧循环的五个阶段展开的。但这与我们所看到的所有其他悲剧之间的巨大区别在于，我们看到了包含灾难种子的根本分裂或分裂。向我们呈现“分裂的自我”景象的并不是罗密欧或朱丽叶本身。分歧在于他们两个家庭的巨大世仇。男女主人公的愿望不是促进冲突，而是逃避冲突。换句话说，造成他们与周围人不和的过错不在他们自己，而在他们之外。
The story of Romeo and Juliet unfolds precisely through the five stages of the tragic cycle. But the great difference between this and all the other tragedies at which we have looked lies in where we see the fundamental split or division which contains the seeds of catastrophe. It is not so much Romeo or Juliet themselves who present us with the spectacle of a ‘divided self’. The split lies in the great feud dividing their two families. The desire of the hero or heroine is not to promote conflict but to escape from it. In other words, the fault which sets them at odds with those around them lies not in themselves but outside them.
戏剧一开场，蒙太古家族和凯普莱特家族的成员在维罗纳街头突然爆发了一场斗殴，我们立即意识到蒙太古家族和凯普莱特家族之间的裂痕是多么深刻和易燃。然后，当我们了解到罗密欧已经因相思病而脱离了冲突时，我们就进入了期待阶段。他实际上希望闯入凯普莱特家族的舞会，以便见到他所爱的女孩罗莎琳。与此同时，凯普莱特家族的小女儿朱丽叶的母亲告诉她，她必须放弃与一位名叫帕里斯的年轻人结婚的念头。我们可能几乎正处于喜剧的开头阶段，男女主角都选择了错误的伴侣。但后来，在舞会上，他们相遇了，并立即坠入爱河。他们找到了自己的焦点。
As the play opens we are at once made aware of how deep and combustible is the rift between the Montagues and the Capulets by the casual suddenness with which a brawl between members of the two households breaks out in a Verona street. We are then drawn into the Anticipation Stage as we learn how Romeo is already detached from the conflict by lovesickness. He is actually hoping to gate-crash the Capulets’ ball to catch sight of the girl he loves, Rosaline. At the same time the young daughter of the Capulets, Juliet, is being told by her mother that she must bend her thoughts towards marriage, with a young man called Paris. We might almost be in the opening stages of a Comedy, with both hero and heroine headed for the wrong partners. But then, at the ball, they meet, and at once fall in love. They have found their Focus. The height of the Dream Stage quickly follows when they declare their love for each other (the ‘Balcony scene’) and secretly get married under the auspices of the wise old Friar Laurence.
当世仇的阴影侵入他们的爱情时，挫折阶段就开始了。脾气暴躁的年轻凯普莱特·蒂伯尔特来寻找罗密欧，对他伪装的撞门行为感到愤怒。罗密欧充满爱的精神，无欲争斗；但当提伯尔特杀死了他的朋友茂丘西奥时，罗密欧最终被黑暗所感染，并被吸引去杀死提伯尔特作为回应。正是这种黑暗的行为促成了致命的结局。随着罗密欧被放逐，朱丽叶的父亲（以“无情的父亲”的名义）准备将她嫁给巴黎（当然，他们不知道她已经结婚了），这对恋人的挫败感迅速恶化。
The Frustration Stage begins when the shadow of the great feud intrudes on their love. The hot-tempered young Capulet Tybalt comes looking for Romeo, furious at how he had gatecrashed the ball in disguise. Full of the spirit of love, Romeo has no wish to fight; but when Tybalt kills his friend Mercutio, Romeo is at last infected by the darkness and is drawn into killing Tybalt in reply. It is this dark act which precipitates the fatal conclusion. The frustration of the lovers quickly worsens as Romeo is banished and Juliet’s father (in the guise of ‘unrelenting father’) prepares to marry her off to Paris (not knowing, of course, that she is already married).
噩梦阶段开始了，朱丽叶拼命试图逃离即将到来的假婚姻的威胁。劳伦斯神父策划了这个计划她服用了一种药物，使她看起来像是死了。她被带到家族的坟墓，目的是让罗密欧在晚上偷偷地来把她带走。如果这是一部喜剧，朱丽叶只是在黯然失色，就像其他假死的女主角，《冬天的故事》中的赫敏和《无事生非》中的英雄一样，这可能就是幸福的结局。但这里不应该有“认可”。欺骗的过程一旦开始，只会被错误的人所欺骗，而误会则是致命的。罗密欧相信朱丽叶真的死了，并在她身边自杀。她醒来发现他已经死了，于是也跟着去了。他们只有在死亡时才能实现最终的结合。
The Nightmare Stage begins, as Juliet desperately tries to escape from the approaching threat of the false marriage. Friar Laurence masterminds the plan whereby she takes a drug which makes it seem that she is dead. She is taken to the family tomb, with the intention that Romeo will come secretly at night and carry her off. And if this were Comedy, with Juliet merely in eclipse, like those other heroines who feign death, Hermione in A Winter’s Tale and Hero in Much Ado, such might be the happy denouement. But here there is to be no ‘recognition’. The course of deception, once embarked on, leads only to the wrong people being deceived, and misunderstanding becomes fatal. Romeo is led to believe that Juliet is truly dead and commits suicide by her side. She wakes to find that he is dead and follows suit. They achieve their final union only in death.
如果这就是故事的全部，我们应该感到它确实得出了一个非常惨淡的结局，黑暗势力取得了胜利。但是，当然，当两个家庭得知这场灾难时，他们感到非常震惊，以至于他们的心都发生了深刻的变化。他们在共同的悲伤中和解，解除了长久以来的不和。我们看到罗密欧与朱丽叶如何在可怕的死亡中拯救了分裂的维罗纳世界，使故事以恢复完整性和新生的形象结束。
If this were all there was to the story, we should feel that it had come to a very bleak conclusion indeed, with the forces of darkness triumphant. But, of course, what happens is that the two families, when they learn of the catastrophe, are so appalled that they go collectively through a profound change of heart. Reconciled in mutual grief, they call off their ancient feud. We see how, in their terrible deaths, Romeo and Juliet have redeemed the divided world of Verona, enabling the story to end on an image of wholeness restored and life renewed.
至少罗密欧和朱丽叶不可能陷入灾难，除非罗密欧本人最终被他们周围的黑暗所感染，杀死了提伯尔特。但最终我们来到了一个故事，英雄根本没有被周围的黑暗所感染。简而言之，我们已经从那些将英雄描绘成怪物的故事中走到了悲剧光谱的另一端，到了他完全成为光的中心的地步。然而，有趣的是，这与他最初的表现恰恰相反。
At least Romeo and Juliet could not have been drawn down to their catastrophe unless Romeo himself had eventually been infected by the darkness surrounding them, in his killing of Tybalt. But finally we come to a story where the hero is not infected by the darkness surrounding him at all. We have come, in short, right to the other end of the tragic spectrum from those stories which show the hero as a monster, to the point where he is completely a centre of light. Yet, interestingly, this is precisely the reverse of how he at first appears.
雪雁
The Snow Goose
保罗·加利科 (Paul Gallico) 的小故事《雪雁》于 1940 年在英国第二次世界大战最黑暗的日子里写成，主人公是画家菲利普·拉亚德 (Philip Rhayader)，他独自住在埃塞克斯沼泽上一座废弃的灯塔里。
The hero of Paul Gallico’s little tale The Snow Goose, written in England in 1940 during the darkest days of the Second World War, is Philip Rhayader, a painter, who lives all alone in an abandoned lighthouse on the Essex marshes.
对于附近社区的居民来说，这个神秘的孤独人物似乎是一个怪物。拉亚德是个驼背人，他的左臂“残废、瘦弱，手腕处弯曲，就像鸟的爪子一样”。但我们很快就了解到，事实上，尽管拉亚德有着“畸形的身体和黝黑的面容”，但他远不是一个怪物，从其他意义上来说，他是一个完整的人，一个出色的水手，一个坚强的人。同时又温柔，充满对“人类、动物王国和所有自然”的爱。他独自生活在沼泽地里，因为他对鸟类和海洋感到自在，这些构成了他“发光”画布的主题。
To the inhabitants of the nearby community, this mysterious solitary figure seems to be a monster. Rhayader is a hunchback, his left arm is ‘crippled, thin and bent at the wrist, like the claw of a bird’. But we soon learn that in reality, despite his ‘mis-shapen body and dark visage’, Rhayader is as far from being a monster as it is possible to be, In every other sense he is a whole man, a superb sailor, strong and at the same time gentle, full of love for ‘man, the animal kingdom and all nature’. He lives alone on the marshes because he is at home with the birds and the sea, which form the subject of his ‘luminous’ canvases.
换句话说，正如他向我们透露的那样，拉亚德是光明的，故事中的黑暗都在他的身外，最初是在他的邻居身上，他们用怀疑、敌意和恐惧的眼光看待沼泽上孤独的驼背。
In other words, as he is revealed to us, Rhayader is all light and the darkness in the story is all outside him, initially in his neighbours who regard the solitary hunchback out on the marshes with suspicion, hostility and fear.
但有一天，其中一个邻居来找他，她是一个受惊的小女孩，手里拿着她发现的一只受伤的雪雁。他立刻知道如何照顾这只鸟，他称之为“迷失的公主”，女孩弗里斯定期来看望他，看看这只鸟过得怎么样。最终，雪雁完全康复，飞走了。弗里斯的访问停止了，拉亚德“再次了解到了“孤独”这个词的含义。孩子和“公主”已经纠缠在一起，对他来说非常重要。
But one day one of these neighbours comes to him, a frightened little girl carrying an injured snow goose she has found. He knows at once how to look after the bird, which he calls ‘The Lost Princess’, and the girl Frith comes regularly to visit him, to see how the bird is getting on. Eventually the snow goose, fully recovered, flies away. Frith’s visits stop and Rhayader ‘learned all over again the meaning of the word “loneliness”’. The child and the ‘Princess’ have become intertwined together, profoundly important to him.
第二年，让雷亚德感到惊讶和喜悦的是，“公主”回来了。他给弗里斯留下了一条信息，弗里斯继续拜访，直到这只鸟再次飞走过夏天——这种模式持续了好几年，每当弗里斯和这只大鸟回到他的生活时，雷亚德就享受着幸福和孤独的交替。持续一段时间，然后又消失。
The following year, to Rhayader’s amazement and joy, the ‘Princess’ returns. He leaves a message for Frith, who resumes her visits until the bird again flies off for the summer – and this pattern continues for several years, with Rhayader enjoying alternations of happiness and loneliness, each time Frith and the great bird come back into his life for a while and then disappear again.
然后三件事或多或少同时发生。首先，雷亚德意识到弗里斯不再只是一个狂野的小女孩：她已经成长为一个年轻女子。其次，雪雁并没有像往常一样飞走，而是显然决定留在灯塔：“迷失的公主已经不复存在了。” 现在这是她的家——这是她自愿的。” 雷亚德和弗里斯都意识到一种新的感情骚动，涉及彼此，但两人都不敢说出来。但第三，外面世界的黑暗和冲突突然以一种新的、更加暴力的方式侵入他们。
Then three things happen, more or less simultaneously. First, Rhayader realises that Frith is no longer just a wild little girl: she has grown up into a young woman. Second, the snow goose does not fly away as usual, but had obviously decided to stay at the lighthouse: ‘the Lost Princess is no more. This is her home now – of her own free will.’ Both Rhayader and Frith are aware of a tumult of new feelings, involving each other, which neither dares speak of. But thirdly, the darkness and conflict of the world outside suddenly intrude on them in a new and much more violent way.
这是1940年，敦刻尔克时期。水手拉亚德决定他必须响应“小船”的号召来帮助疏散，于是他扬帆起航，雪雁像守护天使一样飞过他的头顶，直奔敦刻尔克海滩的噩梦。在这个充满烟雾、枪声、炸弹爆炸和死亡的震耳欲聋的地狱中，他表现出了惊人的英雄主义壮举，拯救了数百人，直到最后他被机枪扫射。人们发现他的船在烟雾和混乱中漂流，他的身体倒在舵柄上，大鸟仍然注视着他——直到船被水雷炸成碎片。但对于所有在那个地狱里遇到过他的人来说，他已经成为一个近乎传奇的超自然人物。弗里斯连续几天等待照顾他，直到“公主”回来围着她转，好像是在告诉她雷亚德不会回来了。几周后，一架迷失的德国轰炸机将灯塔炸毁。
It is 1940, the time of Dunkirk. Rhayader, the sailor, decides that he must answer the call for the ‘little boats’ to help in the evacuation, and sails off with the snow goose flying over him, like a guardian angel, straight into the nightmare of the Dunkirk beaches. Amid this deafening hell of smoke, gunfire, exploding bombs and death, he performs astonishing feats of heroism, rescuing hundreds of men, until finally he is machine-gunned. His boat is spotted drifting through the smoke and chaos, his body slumped over the tiller, with the great bird still watching over him – until the boat is blown to pieces by a mine. But for all who have encountered him in that hell, he has become an almost legendary, supernatural figure. For days Frith waits looking out for him, until the ‘Princess’ returns to circle round her, as if to tell her that Rhayader is not coming back. A few weeks later a stray German bomber blasts the lighthouse out of existence.
显然，即使是这个非常惨淡的结局，也有一些深刻的积极意义。我们一开始就看到雷亚德被周围的每个人拒绝并视为“怪物”，尽管错误仅在于他们自己。通过他无私和英雄的结局，我们终于看到他的真实本性以这样一种方式向世界展现，他成为了救世主，他和他的鸟在周围可怕的黑暗中看到了“光明”的幻象。这是一个成功地颠覆了悲剧通常主题的故事。
Obviously there is something profoundly positive even about this very bleak ending. We began by seeing Rhayader rejected and taken by everyone around him to be a ‘monster’, even though the fault lay only in themselves. By his selfless and heroic end, we finally see his true nature revealed to the world in such a way that he becomes a redeemer, he and his bird a vision of ‘light’ amid the terrible surrounding darkness. It is a story which triumphantly turns the usual theme of Tragedy inside out.
悲剧模式含义的微妙线索之一在于“悲剧”一词本身的起源，它来自希腊语
“山羊”。它源自古老的“替罪羊”仪式实践，即可以牺牲山羊或其他生物来恢复社区的健康。动物（或人类）的替罪羊被视为象征性地背负着部落的罪孽；其理念是，在其死亡时，这些罪孽将得到净化，部落将恢复完整。这种重演的模式正是我们在悲剧结束时看到的，整个社区都被中心人物散发的黑暗笼罩在阴影中。消除黑暗之源使社区重见光明。
One of the subtler clues to the meaning of the tragic pattern lies in the origins of the word ‘tragedy’ itself, coming as it does from the Greek , a ‘goat’. It is derived from the ancient ritual practice of the ‘scapegoat’, whereby a goat or some other creature could be sacrificed to restore health to the community. The animal (or human) scapegoat was regarded as symbolically carrying the sins of the tribe; with the idea that, in its death, those sins were purged and the tribe brought back to wholeness. The pattern this re-enacted was precisely that we see at the end of a tragedy, where a whole community has been cast into shadow by the darkness emanating from the central figure. The removal of that source of darkness brings the community back into the light.
自从我们第一次开始探索这种奇怪的讲故事模式以来，我们已经取得了很大的进步，这种模式展示了人类如何陷入最终导致暴力和非自然死亡的行动过程中。我们经历过世界上一些最黑暗的故事。我们看到，人们被一些以自我为中心的爱或权力幻想所占据，逐渐将自己与周围的每个人分离，越来越沉浸在因自己分裂、混乱的心灵而产生的黑暗中，直到最后向他人表现出暴力的拒绝。转向他们自己。但我们也看到了这种陷入黑暗的螺旋式下降如何可能被逆转：男女主人公如何可能开始再次团结在一起，在他们自己内部以及与周围的其他人，
We have come a long way since we first began to explore this strange pattern in storytelling which shows how human beings may get caught up in a course of action which leads eventually to their violent and unnatural death. We have been through some of the darkest stories in the world. We have seen people, possessed by some egocentric fantasy of love or power, gradually separating themselves from everyone around them, more and more submerged in the darkness which springs from their own split, disordered psyches, until finally the violent rejection they have shown to others turns in on themselves. But we have also seen how it is possible for this downward spiral into darkness to be reversed: how it is possible for the hero or heroine to begin to knot together again, within themselves and with others around them, so that light is again breaking in on their darkness.
到目前为止，因为我们一直在关注悲剧，所以我们只看到这种回归光明的方式能够部分发挥作用，最终不足以战胜已被释放的黑暗力量，并最终将英雄或女主人公扫走。但当然，也有一些故事表明，从黑暗中爬上来，到达最终胜利的结局，英雄或女英雄可以完全重新出现在光明中。这引导我们进入下一个也是最后一个基本情节。
So far, because we have been looking at Tragedy, we have only seen this return to the light able to operate partially, ultimately insufficient to prevail against the forces of darkness which have been unleashed, and which eventually sweep the hero or heroine away. But there are, of course, stories which show that climb upward from darkness reaching its ultimate triumphant conclusion, where the hero or heroine can re-emerge into the light altogether. This leads us on to the next and last of the basic plots.
第11章
重生
Chapter 11
Rebirth
“正是在腐烂的监狱稻草上，我第一次感受到了自己内心的美好。我渐渐明白，善恶的界线不是国家之间、阶级之间、党派之间，它贯穿我们每个人的内心，贯穿所有人类的内心。这条线不是静止的。它随着岁月的流逝而变化和移动。即使在被邪恶笼罩的心中，它仍然保持着善良的小桥头堡。
‘It was on rotting prison straw that I felt the first stirrings of good in myself. Gradually it became clear to me that the line separating good from evil runs not between states, not between classes and not between parties: it runs through the heart of each and everyone of us, and through all human hearts. This line is not stationary. It shifts and moves with the passage of the years. Even in hearts enveloped in evil, it maintains a small bridgehead of good.’
亚历山大·索尔仁尼琴，古拉格群岛
Alexander Solzhenitsyn, The Gulag Archipelago
在我们生命的早期，我们遇到过一种与其他故事不太一样的故事。我们第一次遇到它的形式是在童年故事中，它通常以熟悉的童话故事为中心，主角是年轻的男女主角、王子和公主，他们与黑暗巫师、邪恶的女巫或邪恶的继母发生了冲突。但这不是一个传统的白手起家或战胜怪物的故事。它含有一种关键成分，使其与众不同。
Early in our lives we come across a type of story not quite like any other. In the form in which we first encounter it, in the stories of childhood, it usually centres round the familiar fairytale cast of young heroes and heroines, princes and princesses, who have fallen foul of dark enchanters, wicked witches or evil stepmothers. But this is not a conventional Rags to Riches or Overcoming the Monster story. It contains a crucial ingredient which marks it out from either.
在民间故事《睡美人》中，国王和王后育有一个小女儿。他们邀请了七位仙女参加小公主的洗礼仪式，六位仙女依次给她带来了巨大的祝福——美丽、优雅、善良等等。但在最后一个人能说话之前，一位恶毒的老仙女闯了进来，她对没有被邀请感到愤怒，并对孩子下了致命的诅咒：她将在长大之前扎破手指并死去。第七位善良的仙女只能将其改判为沉睡一百年，并承诺公主最终会被解放。
In the folk tale Sleeping Beauty, a king and queen have a baby daughter. They invite seven fairies to the little Princess’s christening, and six in turn bestow great blessings on her – beauty, grace, goodness of heart, and so on. But before the last can speak an old malevolent fairy bursts in, furious at not having been invited, and lays a deadly curse on the child: that she shall prick her finger and die before she grows up. The seventh good fairy can only commute this to a sentence of a hundred years of sleep, with the promise that eventually the Princess will be liberated.
第二阶段展示了小女孩的成长过程，她被赋予了洗礼时赋予她的所有“光明”礼物——而她的父母则竭尽全力保护她，下令摧毁王国里的每一根针。但最终有一天，女主人公即将进入成年状态。她漫步到父亲城堡的一个偏僻且被忽视的角落，在那里她发现了一位神秘的老妇人正在纺车旁。她对自己正在奔跑的危险视而不见，要求尝试一下方向盘。黑暗的预言应验了，女主角手指被刺破，陷入昏迷。城堡的其他居民也纷纷效仿，一道坚不可摧的荆棘树篱拔地而起，将他们与外界隔绝。因此，我们看到了讲述生死状态的故事中最令人难以忘怀的画面之一：
The second stage shows the little girl growing up, endowed with all the ‘light’ gifts laid on her at her christening – while her parents do all they can to protect her by ordering that every needle in the kingdom shall be destroyed. But eventually the day arrives when the heroine is about to enter on her adult state. She wanders into a remote and overlooked corner of her father’s castle, where she discovers a mysterious old woman at a spinning wheel. Blind to the danger she is running, she asks to try the wheel. The dark prophecy is borne out, the heroine pricks her finger and swoons into unconsciousness. The rest of the castle’s inhabitants follow suit, and a hedge of impenetrable thorns springs up to seal them off from the outside world. We are thus presented with one of the most haunting images in storytelling of the state of living death: the flow of life frozen in suspension.
第三阶段直到几十年后才展开。许多想成为英雄的人都曾尝试深入这座魔法城堡，但都没有成功。只有当正确的时刻和完美的英雄到来时，解放才会发生。终于成为王子了来自异国他乡的他有机会经过城堡，毫不费力地穿过荆棘篱笆，在偏远的监狱里找到了公主，并用一个吻唤醒了她。城堡的整个社区——从仆人、守卫和动物到国王和王后——都恢复了生机。王子和他“从死里复活”的公主结婚了。
The third stage does not unfold until decades later. Many would-be heroes have tried to penetrate to the enchanted castle without success. Only when the right moment and the perfect hero arrives can the liberation take place. At last a prince from another land chances to pass the castle, makes his way effortlessly through the hedge of thorns, finds the Princess in her remote prison and wakes her with a kiss. The whole community of the castle – from servants, guards and animals up to the king and queen – stirs back into life. The Prince and the Princess he has ‘won back from the dead’ are married.
《睡美人》是基于我们称之为“重生”的情节类型。英雄或女英雄陷入了黑暗的魔咒之中，最终将他们困在某种寒冷的状态中，类似于活死人：身体或精神的监禁、睡眠、疾病或其他形式的魔法。很长一段时间，他们都在这种冰冻的环境中苦苦挣扎。然后，奇迹般的救赎行动发生了，重点是帮助英雄或女英雄从监禁中解救出来的特定人物。他们从黑暗的深处被带入荣耀的光明中。
Sleeping Beauty is based on the type of plot we may call ‘Rebirth’. A hero or heroine falls under a dark spell which eventually traps them in some wintry state, akin to living death: physical or spiritual imprisonment, sleep, sickness or some other form of enchantment. For a long time they languish in this frozen condition. Then a miraculous act of redemption takes place, focused on a particular figure who helps to liberate the hero or heroine from imprisonment. From the depths of darkness they are brought up into glorious light.
这个主题的另一个熟悉的版本是白雪公主。国王和王后又生了一个小女儿。再一次，在她出生后不久，当小公主慈爱的母亲去世时，可怕的阴影笼罩着她，取而代之的是虚荣无情的继母，她是故事中主要的黑暗人物。她最重要的执念是除掉白雪公主，这是对她作为王国中女性首席人物的至高无上的挑战，她命令将白雪公主带入森林并杀死。只有在紧要关头，女主人公才得到部分缓刑，被命令杀死她的猎人只是抛弃了她。
Another familiar version of this theme is Snow White. Again a king and queen have a baby daughter. Again, shortly after her birth, a terrible shadow falls over her when the little Princess’s loving mother dies, and is replaced by the vain and heartless stepmother, the chief dark figure of the story. Her overriding obsession is to get rid of Snow White, as the challenge to her own supremacy as the chief feminine figure in the kingdom, and she orders that Snow White should be taken out into the forest and killed. Only in the nick of time is the heroine given a partial reprieve, when the huntsman who has been ordered to kill her merely abandons her.
第二阶段开始时，她找到了七个小矮人居住的神秘小屋，他们整天从深山的洞穴中挖掘宝藏，白雪公主在这里幸福地安顿下来，以“小母亲”的身份开始了新的生活。小矮人。但最终，当邪恶的继母发现了白雪公主藏身的偏远地方，并三度乔装打扮，送给她有毒的礼物时，来自外部世界的黑暗阴影再次降临到她身上。每一次，白雪公主都因相信无知而屈服于诱惑（就像睡美人一样，她的天真和有限的意识使她在不知不觉中成为了自己垮台的一方），每一次她都陷入了生死存亡的状态。前两次小矮人都让她复活了，但到了第三次，当白雪公主被毒苹果噎住时，他们的力量已经不足以拯救她了。他们认为她已经死了，并将她放在山顶的玻璃棺材里。
The second stage begins when she finds her way to the mysterious cottage inhabited by the seven dwarfs, who spend their days digging out treasure from caves deep in the mountains, and here Snow White settles down happily to a new life as ‘little mother’ to the dwarfs. But eventually the dark shadow from the outer world again falls over her, when the wicked stepmother discovers Snow White’s remote place of concealment and comes three times in disguise to offer her poisoned gifts. Each time in trusting ignorance Snow White succumbs to the temptation (like Sleeping Beauty, her naivety and limited awareness make her an unwitting party to her downfall), and each time she sinks into the state of living death. On the first two occasions the dwarfs are able to bring her back to life, but on the third - when Snow White chokes on the poisoned apple – their powers are no longer sufficient to save her. They assume she is dead, and place her on a mountaintop in a glass coffin.
正如《睡美人》中一样，故事的第三个也是最后一个阶段只有在许多年后才会发生，当一位王子从遥远的土地来到这里，看到处于假死状态的女主角并爱上她时。他命令将她带下山。当她被抱下去时，苹果脱落了。白雪公主从生死中醒来，爱上了释放她的完美英雄，他们结婚了。
Just as in Sleeping Beauty, the third and final stage of the story takes place only when many years have elapsed, when a prince arrives from a far-off land, sees the heroine in her state of suspended animation and falls in love with her. He orders that she should be taken down the mountain. As she is carried down, the apple is dislodged. Snow White awakens from her living death, falls in love with the perfect hero who has released her and they are married.
在每个故事中，我们都看到女主人公在很小的时候就第一次陷入黑暗力量的阴影之下。有一段时间，它似乎仍然遥不可及，尽管我们意识到它尚未得到解决并且在背景中具有威胁性。然后，随着黑暗力量的逼近，威胁感与日俱增，直到最后它全力出现，将女主角冻结在其致命的掌控之中。只有经过一个很长一段时间，当黑暗力量似乎已经完全胜利的时候，逆转就发生了；当女主人公被爱的赋予生命的力量奇迹般地从囚禁中解救出来时。
In each of these stories we see the heroine first falling under the shadow of the dark power when she is very young. For a while it still seems to be comfortably remote, although we are aware of it unresolved and menacing in the background. Then there is a mounting sense of threat as the dark power approaches, until finally it emerges in full force, freezing the heroine in its deadly grip. Only after a long time, when it seems that the dark power has completely triumphed, does the reversal take place; when the heroine is miraculously redeemed from her imprisonment by the life-giving power of love.
英雄被女英雄救赎
Hero redeemed by heroine
这就是《重生》情节的一个版本。但在我们第一次遇到这两个童话故事的同时，我们可能会遇到另外两个熟悉的故事，它们以另一种方式呈现重生的主题。我们仍然将女主角视为中心人物。一切仍然取决于爱的力量从生死存亡的状态中最终的解放。但在这里，男主角是故事的中心人物，被黑暗的魔力所困，而女主角最终将他解救出来。然而，随着故事的展开，她自己也陷入了被囚禁的状态，在主人公受到黑暗咒语的影响下，被困住了——于是我们最终看到了彼此从黑暗力量的掌控中被解放出来。
Such is one version of the plot of Rebirth. But at much the same time that we first encounter these two fairy tales, we may come across another two familiar stories which present the theme of Rebirth in another way. We still see the heroine as the central figure. Everything still hinges on a final liberation by the power of love from a state of living death. But here it is the hero who is the central imprisoned figure of the story, trapped by dark enchantment, and it is the heroine who eventually liberates him. As the story unfolds, however, she herself also falls into a state of imprisonment, trapped by the hero when he is under the dark spell – so that we finally see each being liberated from the grip of the dark power by the other.
在《青蛙王子》中有一天，一位年轻的公主带着她最珍贵的财产——一个金球——外出玩耍，这时它滚走了，沉入了深水池中。当她非常痛苦时，不知道如何把它拿回来，这时一只青蛙跳起来并主动提出要找回它——条件是她要带他回家并允许他分享她的食物和床铺。她轻轻地做出了承诺，球被找了回来，公主高高兴兴地回家了，忘记了她对青蛙的承诺。最终，有人敲响了宫殿的门，公主打开门，惊讶地看到青蛙前来索取他的那部分交易。公主惊恐地关上了门，但当她的父亲国王听到发生的事情时，他严厉地坚持要求她必须履行诺言。她怀着厌恶的心情让这个令人厌恶的小生物吃她盘子里的东西，甚至和她同睡一张床——第二天早上他消失后，她希望这是最后一次见到他了。但她的噩梦还没有结束。青蛙回来了，在她的床上睡了三个晚上；直到第三天早上，她醒来才发现他已经变成了真正的自己，成为了一位英俊的王子。他解释说，他被一位女巫下了邪恶的咒语，变成了一只青蛙。条件是他必须说服一位公主让他在她的床上睡三个晚上才能被释放。公主带着难以置信的喜悦和爱看着她无意中救赎的王子，王子带她回家结婚。和她同床共枕三个晚上；直到第三天早上，她醒来才发现他已经变成了真正的自己，成为了一位英俊的王子。他解释说，他被一位女巫下了邪恶的咒语，变成了一只青蛙。条件是他必须说服一位公主让他在她的床上睡三个晚上才能被释放。公主带着难以置信的喜悦和爱看着她无意中救赎的王子，王子带她回家结婚。和她同床共枕三个晚上；直到第三天早上，她醒来才发现他已经变成了真正的自己，成为了一位英俊的王子。他解释说，他被一位女巫下了邪恶的咒语，变成了一只青蛙。条件是他必须说服一位公主让他在她的床上睡三个晚上才能被释放。公主带着难以置信的喜悦和爱看着她无意中救赎的王子，王子带她回家结婚。
In The Frog Prince, a young Princess is out playing one day with her most precious possession, a golden ball, when it rolls away and sinks into a deep pool. She is in great distress, not knowing how to get it back, when a frog hops up and offers to recover it – on condition that she will take him home and allow him to share her food and her bed. She lightly gives her promise, the ball is recovered and the Princess goes happily off home, forgetting all about her promise to the frog. Eventually there is a knock at the palace door, the Princess opens it and is horrified to see the frog, come to claim his part of the bargain. In terror, the Princess slams the door, but when her father the king hears what has happened he sternly insists that she must fulfil her promise. With a sense of loathing she allows the repulsive little creature to eat from her plate, and even to share her bed – and when he disappears the next morning, she hopes she has seen the last of him. But her nightmare is not over. The frog returns, to share her bed for three nights; and only on the third morning does she wake up to find that he has turned into his true self as a handsome Prince. He explains that he had been placed under an evil spell by an enchantress, and turned into a frog; with the condition that he could only be released if he could persuade a Princess to let him share her bed for three nights. The Princess looks at the Prince she has unwittingly redeemed with almost disbelieving joy and love, and he takes her home to be married.
第二个熟悉的民间故事是《美女与野兽》，它以更加微妙的方式表达了同样的基本轮廓。这里更明确地强调，女主人公实际上必须向男主人公表达爱意，才能使男主人公从表面上令人厌恶和黑暗的状态中解脱出来（尽管在《青蛙王子》中，公主与她同床共枕显然是具有象征意义的）。
A second familiar folk tale which expresses this same basic outline with rather greater subtlety is Beauty and the Beast; and here it is more explicitly emphasised that the heroine actually has to show love for the hero before he can be released from his outwardly repulsive and dark state (although in The Frog Prince the Princess’s sharing of her bed is obviously symbolically related).
我们从一个父亲和三个女儿的熟悉情况开始。正如《灰姑娘》和许多其他故事一样，重点是将两个自负、骄傲、铁石心肠的孩子与第三个孩子“美女”进行对比，后者不仅外表迷人，而且心地善良、充满爱心。父亲外出旅行，一天晚上在森林中迷路了。他被一座神秘、空荡荡的城堡所吸引，在那里他找到了各种舒适和热情，尽管直到他准备离开时他才见到任何人——当时他被一个半人形的可怕怪物袭击了。野兽只允许他离开，条件是他送回他最小的女儿住在城堡里（或者，在某些版本中，他到家时看到的第一个人——不可避免地是可爱的美女，她冲上去欢迎她的父亲） 。美女满怀恐惧来到城堡，虽然她受到了很好的照顾，甚至喜欢上了友好善良的野兽，但她不可能接受他的求婚。她感觉自己被困住了。但最终野兽允许她回家一段时间，照顾生病的父亲，而她却违背了回来的诺言。然后，在梦中，她看到野兽因悲伤而死去。她懊悔地冲回城堡，正好发现他躺在花园的黑暗中，显然已经死了。她被心中暗自增长的爱所征服，以至于她扑倒在地拥抱他。他复活了，并说他只想再见到她一次：他现在可以幸福地死去了。她说他不能死，没有他她就活不下去。听到这句话，黑暗的城堡突然充满了光明，音乐响起，她看到站在她面前的是一位英俊的王子——王子告诉她，他被邪恶的女巫变成了怪物，只有满足条件才能获释。一个美丽的处女会自愿嫁给他。美女与野兽凭借爱的力量互相救赎——尽管显然他只是外表上的怪物。他内心深处一直存在着真实的自己，
We begin with the familiar situation of a father and three daughters. As in Cinderella and many other stories, the point is to contrast two of the children, vain, proud and hard-hearted, with the third, Beauty, who is not only outwardly attractive but also good-hearted and loving. The father goes on a journey and loses his way one night in a forest. He is drawn to a mysterious, empty castle, where he finds every kind of comfort and hospitality, although he never sees anyone until he is about to leave – when he is set upon by a terrifying monster, in semi-human shape. The Beast only allows him to leave on condition that he sends back his youngest daughter to live at the castle (or, in some versions, the first person he sees when he arrives home – inevitably the loving Beauty, who rushes to welcome her father). Beauty comes to the castle, full of dread, and although she is splendidly looked after and even comes to like the friendly and kindly Beast, she cannot possibly accept his proposal that she should marry him. She feels terribly trapped; but eventually the Beast allows her to return home for a while to tend her father who has fallen sick, and she breaks her promise to come back. Then, in a dream, she sees the Beast dying of grief. She rushes contritely back to the castle, just in time to find him lying in the darkness in the garden, apparently dead. She is so overcome by the love which has been secretly growing in her that she flings herself down to embrace him. He stirs back to life, and says that he only wanted to see her once more: he can now die happy. She says that he must not die, she cannot live without him. At these words, the dark castle is suddenly filled with light, music plays and she sees standing before her a handsome Prince – who tells her that he had been turned into a monster by a wicked enchantress, and that he could only win his release if a beautiful virgin would freely consent to marry him. Beauty and the Beast have redeemed each other by the power of her love – although obviously he had only been a monster in outward form. Inwardly his true self had been there all along, waiting for the right woman to bring about the moment when all his outward deformations would fall away and he could at last emerge in his perfect, princely state, united with her forever.
雪女王
The Snow Queen
在所有这些基于民间故事和从小就熟悉的重生故事的例子中，被囚禁的中心人物只是在他们之外的一些黑暗人物的作用下才陷入生死存亡的状态。但最终我们遇到了另一个儿童故事，它使这个情节的模式更进一步。在汉斯·克里斯蒂安·安徒生的《冰雪女王》中，我们看到一位英雄最初通过魔法师的行动而受到黑暗的咒语的影响。但结果是，他不仅外表上，而且内心也被黑暗的力量所感染。正是这一点将他吸引到另一个黑暗人物——冰雪女王的力量中，而正是她将他囚禁在生死存亡的状态中。
In all these examples of the Rebirth story based on folk tales and familiar from childhood, the central imprisoned figures have only become trapped in the state of living death through the agency of some dark figure outside them. But eventually we come across another children’s story which takes the pattern of this plot a stage further. In Hans Christian Andersen’s The Snow Queen we see a hero who initially passes under the spell of darkness through the action of an enchanter. But the consequence is that he becomes not just outwardly but inwardly infected by the power of darkness himself. It is this which draws him in turn into the power of another dark figure, the Snow Queen, and it is she who imprisons him in the state of living death.
故事从一个序言开始，讲述了一个邪恶的魔术师如何建造了一面最奇怪的镜子。“一切美好的、美丽的东西，在它的映照下，都缩小得几乎为零，而那些丑陋的、无用的东西，却被放大了，显得比以前糟糕十倍。” 魔术师的追随者将扭曲的镜子举到空中，镜子从他们的手中掉落并粉碎成数百万个微小的碎片。镜子的碎片掉落到世界各地。有些进入了人们的眼睛，导致人们“以错误的方式看待一切”。还有的进入人心，那就更糟糕了，因为“心又冷又硬，像一块冰”。
The story begins with a prologue, which tells how a wicked Magician once constructed a most curious mirror. ‘Everything good and beautiful, when reflected in it, shrank up almost to nothing, whilst those things which were ugly and useless were magnified and made to appear ten times worse than before.’ The Magician’s followers carried the distorting mirror up into the sky, where it fell from their grasp and shattered into millions of tiny fragments. Splinters of the mirror fell to earth all over the world. Some entered people’s eyes, which caused them ‘to view everything the wrong way’. Others entered people’s hearts, which was even worse, for ‘the heart became cold and hard, like a lump of ice’.
当我们遇到一个小男孩凯和一个小女孩格尔达时，故事就开始了，他们住在一座大城市的隔壁。他们一起玩耍，彼此相爱。两人都天真无邪，性格可爱。但在夏末的一天，凯感到眼睛和心脏一阵剧痛。他们是被魔镜碎片侵入的。疼痛逐渐消失，但凯的性格开始发生变化。他开始看到窗外的玫瑰很难看，于是把它们撕下来。他鄙视格尔达的眼泪，并开始在背后残酷地模仿人们。他现在喜欢“理性”游戏，比如通过放大镜观察雪花，欣赏它们冰冷、坚硬、晶莹剔透的完美。
The story proper begins when we meet a little boy Kay and a little girl Gerda who live next door to each other in a big city. They play together and love each other. Both are innocent and sweet-natured. But one day, towards the end of summer, Kay feels shooting pains in his eye and heart. They have been entered by splinters of the magic mirror. The pain fades, but Kay’s character begins to change. He begins to see the roses outside their windows as ugly, and tears them down. He scorns Gerda’s tears, and starts to imitate people cruelly behind their backs. He now likes ‘rational’ games, such as looking at snowflakes through a magnifying glass, to delight in their cold, hard, crystalline perfection.
冬天来了，有一天凯带着他的小雪橇到广场上，他看到一辆又大又漂亮的雪橇经过，由一个身穿白衣的神秘人物驾驶。他把自己的雪橇挂在较大的雪橇后面，希望能搭上一趟，结果发现自己在街道上旋转得越来越快，最终进入了白雪覆盖的乡村。现在他已经非常害怕了，但他无法甩掉雪橇。他试图祈祷，但只能记住乘法口诀表。最后，他们在离家数英里的地方停了下来，神秘的人物显露出了自己的身份，那就是冰雪女王。凯认为她很美丽：“她的面容是他无法想象的更聪明、更可爱”。当他们继续旅程，飞越森林、湖泊和海洋时，凯坐在她旁边，脑子里充满了数字和统计数据，
Winter has come and one day Kay takes his little sledge out into the square where he sees a large and handsome sledge passing by, driven by a mysterious figure all dressed in white. He attaches his own sledge behind the larger one, hoping for a ride, and finds himself being whirled along faster and faster through the streets, and eventually out into the snow-covered countryside. By now he is very frightened, but he cannot shake his sledge loose. He tries to say a prayer, but can only remember the multiplication table. At last they stop, miles from home, and the mysterious figure reveals herself as the Snow Queen. Kay sees her as beautiful: ‘a more intelligent, more lovely countenance he could not imagine’. As they resume their journey, now flying over forests, lakes and seas, Kay sits beside her, his head filled with figures and statistics, until he falls asleep.
然后我们回到小格尔达，她对她朋友的失踪非常不满。冬天过去了，春天来了，他还没有回来。有人说他一定已经死了，但格尔达不敢相信，她开始寻找他。现在，我们进入了熟悉的探索领域，她开始了前往遥远国度的漫长旅程，期间交替出现磨难和喘息的情节。有一段时间，她自己变成了一个女巫的力量，就像奥德修斯的卡吕普索一样试图让她平静下来，忘记她的任务。她遇到了帮手，一只乌鸦和一个强盗少女，最后她们骑着驯鹿送她完成旅程的最后一段。最后我们看到凯发生了什么事。在遥远的北方，在永恒寒冷的土地上，他被囚禁在冰雪女王的巨大冰宫中。大部分时间他都是一个人坐着 用冰块做“中国拼图”。“凯能够形成最奇特、最完整的图形——这是理性的冰拼图——在他眼中，这些图形是最重要的……但有一个词他永远无法成功形成。那是“永恒”。”冰雪女王告诉他，如果他能把这个词组合在一起，他将成为自己的主人，“我会给你整个世界”。
We then return to little Gerda, who is very unhappy at her friend’s disappearance. The winter goes by, spring comes, still he has not returned. Some say he must be dead, but Gerda cannot believe it and she sets out to look for him. We now pass into the familiar territory of a Quest, as she embarks on her long journey into distant lands, with alternating episodes of ordeal and respite. For a time she passes into the power of an enchantress herself, who like Odysseus’s Calypso tries to lull her into forgetfulness of her Quest. She meets helpers, a raven and a robber-maiden, who eventually sends her on the last part of her journey, on a reindeer. Then at last we see what has happened to Kay. Far to the north, in the land of everlasting cold, he is imprisoned in the vast ice palace of the Snow Queen. He sits most of the time all alone, doing ‘Chinese puzzles’ with splinters of ice. ‘Kay could form the most curious and complete figures – this was the ice puzzle of reason – and in his eyes these figures were of the utmost importance ... but there was one word he could never succeed in forming. It was “Eternity.” ’ The Snow Queen had told him that if ever he can put that word together, he will become his own master and ‘I will give thee the whole world’.
最后格尔达在“巨大的空冰大厅”中找到了凯。当他坐着时，“冰冷、沉默、一动不动”，他不认识她。她被爱和怜悯所征服，用热泪拥抱了他，洗去了他心中镜子的碎片。然后他也哭了，这使得他眼中的碎片浮了起来。他终于可以再次感觉到并看得清楚了。“格尔达，我亲爱的小格尔达，”他喊道，仿佛从长眠中醒来，“你这段时间去哪儿了？我去哪儿了？他们俩都充满了喜悦，连他们周围的冰碎片都在跳舞，自己形成了“永恒”这个词。格尔达和凯踏上了漫长的归程，他们周围的世界变得越来越温暖，越来越像春天。向南旅行。最后，他们回到了原来熟悉的街道，当他们回家时，他们能发现的唯一改变就是自己，因为“他们发现自己现在已经完全长大了”。他们幸福地凝视着对方，“而他们周围都闪耀着温暖、灿烂的夏日”。
At last Gerda finds Kay, in the ‘great empty hall of ice’. As he sits, ‘cold, silent, motionless’, he does not recognise her. She is so overcome by love and pity that she embraces him with hot tears, which wash the splinter of mirror from his heart. He then weeps too, which floats the splinter from his eye. At last he can feel and see straight again. ‘Gerda, my dear little Gerda’ he exclaims, as if waking from a long sleep, ‘where have you been all this time? And where have I been?’ They are both so filled with joy that even the ice fragments around them dance, and form the word ‘Eternity’ by themselves. Gerda and Kay set out on their long return journey, the world around them becoming ever warmer and more spring-like as they travel south. At last they arrive back in their old familiar streets, and as they come home the only alteration they can find is in themselves, for ‘they saw that they were now fully grown up’. They gaze on each other happily, ‘while all around them glowed warm, glorious Summer’.
从我们讲故事的早期阶段，我们可以毫不费力地认识到在这个故事的过程中凯发生了什么。当镜子的碎片进入他的眼睛和他的内心时，就会发生两件事：他不再能看得清楚、完整，而且他不再能感受到别人。他变得盲目、无情、以自我为中心。他变得“黑暗”，就像我们在早期故事类型中看到的人物被黑暗所附身一样，尤其是在悲剧中。当格尔达最终找到通往他孤独的监狱并解救他的路时，他身上发生的转变正是我们在早期类型的故事中看到的，一个黑暗的人物经历了内心的改变，变成了“光明”。当凯的眼睛和心脏上的碎片被洗掉时，他恢复了失去的两种力量：看到整体并感受到。他又可以去爱了。他恢复了真实的自我。与他的“另一半”格尔达结合，他就完整了。而且，正如故事的结尾所表明的那样，他已经“完全长大了”。
From earlier stages of our journey through storytelling we have no difficulty in recognising what is happening to Kay in the course of this story. When the splinters of the mirror enter his eye and his heart, two things happen: he can no longer see straight and whole, and he can no longer feel for others. He becomes blind, heartless and egocentric. He has become ‘dark’ in exactly the same way in which we saw figures being possessed by darkness in earlier types of story, above all in Tragedy. And when Gerda finally finds her way to his lonely prison to liberate him, the transformation which takes place in him is precisely that which we saw in earlier types of story where a dark figure goes through a change of heart and becomes ‘light’. As the splinters are washed from Kay’s eye and heart, he regains both the powers he has lost: to see whole and to feel. He is once again able to love. He is restored to his true self. United with his ‘other half’ Gerda, he is complete. And, as the closing lines of the story make clear, he has ‘fully grown up’.
但占据凯的黑暗仍然在表面上被人格化，在故事中两个占主导地位的黑暗人物身上，他们最终负责将他置于黑暗咒语之下，并将他置于生死存亡的状态，即魔术师和冰雪女王。现在我们继续讲三个基于重生情节的故事，这些故事是为成年观众编写的，其中黑暗力量不再被人格化，而是仅从英雄内部涌现。把他送进监狱的事情被认为是完全发生在他个人性格内的事情。
But still the darkness which possesses Kay is personified outwardly, in the two dominant dark figures of the story who are ultimately responsible for placing him under the dark spell and consigning him to the state of living death, the Magician and the Snow Queen. We now move on to three more stories based on the Rebirth plot, written for an adult audience, where the dark power is no longer personified outwardly at all, but is shown as springing only from within the hero. What consigns him to his prison is seen as something which has happened solely within his own personality.
圣诞节颂歌
A Christmas Carol
当我们第一次见到查尔斯·狄更斯的《圣诞颂歌》中的主人公时，他已经处于生死存亡的状态。他还没有意识到这一点，我们也不知道他是如何到达那里的——但这两件事都是故事随后展开的核心。
When we first meet the hero of Charles Dickens’s A Christmas Carol, he is already in the state of living death. He does not yet recognise it as such, nor do we yet know how he got there – but both things are central to the way the story then unfolds.
今天是平安夜。伦敦城笼罩着冰冷的雾气，但没有什么比放债人斯克鲁奇的心脏更寒冷或更不充满季节性善意的了。我们在三场遭遇中看到了他，这突显出他是如何被囚禁在一种贪婪、脾气暴躁的卑鄙之中，这使他与整个世界格格不入。首先，他轻蔑地拒绝了他开朗的侄子的圣诞晚餐邀请。然后，他拒绝了两位先生向慈善机构捐款的邀请，为穷人提供圣诞欢乐。第三，他攻击他的职员鲍勃·克拉奇特，拒绝为他提供更多的煤炭来生火，并几乎威胁要因为他第二天缺勤而扣掉他的工资。当斯克鲁奇那天晚上穿过冰冷的街道回家时，有人强调说，天气已经变得“雾气更大，更冷了！” 刺痛、搜寻、刺骨的寒冷！到达他简陋的住所后，他看到门环呈现出他同样吝啬的前伴侣雅各布·马利的幽灵般的面容——“脸色铁青……可怕”，雅各布·马利已经去世七年了。马利的鬼魂随后出现，拖着一条巨大的链条，警告斯克鲁奇等待那些只为自己而活的人的惩罚，他即将收到另外三个幽灵的拜访。
It is Christmas Eve. A freezing fog shrouds the City of London but nothing is colder or less full of seasonal goodwill than the heart of the moneylender Scrooge. We see him in three encounters which underline how he has become imprisoned in a grasping, ill-tempered meanness which sets him at odds with all the world. First he contemptuously rejects an invitation to Christmas dinner from his cheerful nephew. Then he rejects the invitation of two gentlemen to contribute to a charity to provide Christmas cheer for the poor. Thirdly, he turns on his clerk Bob Cratchit, refusing him more coal for his fire and all but threatening to dock his wages for the following day’s absence from the office. As Scrooge returns home that evening through the freezing streets, it is emphasised that it has become ‘foggier yet, and colder! Piercing, searching, biting cold!’ Arriving at his meagrely furnished lodgings, he sees the door knocker assume the ghostly features – ‘livid ... horrible’ – of his equally miserly former partner Jacob Marley, dead exactly seven years. Marley’s ghost then appears, dragging a huge chain, to warn Scrooge of the punishment which awaits those who live only for themselves, and that he is about to receive visits from three more apparitions.
过去圣诞节的第一个鬼魂“像个孩子，但又不像个孩子，而是像个老人”，带领斯克鲁奇经历了一系列关于他早年生活的倒叙。他认识到自己是一个孤独的小男孩，然后在后来的几年里，周围都是充满爱心的亲戚和欢乐的圣诞节场景，直到作为一个年轻人，他最终被与他订婚的漂亮年轻女子抛弃了，因为她觉得她在他心里已经被“偶像”取代了。” “什么偶像？“年轻的斯克鲁奇问道。“一个金色的”，女孩回答道，她永远地离开了他。我们看到斯克鲁奇最初是如何从一个和蔼可亲的年轻人变成一个冷酷、孤独、痴迷于金钱的怪物。
The first ghost, of Christmas Past, ‘like a child, yet not so like a child as an old man’, leads Scrooge through a series of flashbacks to his early life. He recognises himself as a solitary little boy, then in later years surrounded by loving relatives and cheerful Christmas scenes, up to the point where, as a young man, he was finally abandoned by the pretty young woman he had become engaged to because she felt that she had been replaced in his heart by ‘an Idol’. ‘ “What idol?” ’ the young Scrooge had asked. ‘“A golden one”’ replied the girl, as she left him forever. We are seeing how Scrooge had originally been transformed from a pleasant young man into a cold, solitary monster, obsessed by money.
《圣诞礼物》中的第二个幽灵是一个快乐的巨人，浑身散发着充足的欢乐。他向斯克鲁奇展示了一系列人们享受与圣诞节相关的社交乐趣和慷慨精神的景象。这些节日团体包括斯克鲁奇的侄子和鲍勃·克拉奇特，每个人都被一个幸福、欢笑的家庭包围着。没有什么比看到克拉奇特残疾的小儿子小蒂姆更让史克鲁奇感动的了。在每种情况下，唯一给欢乐蒙上阴影的就是提到他自己的名字。
The second ghost, of Christmas Present, is a jolly giant, exuding plenty and good cheer. He shows Scrooge a series of visions of people enjoying all the sociable delights and generosity of spirit associated with Christmas. These festive groups include Scrooge’s nephew and Bob Cratchit, each surrounded by a happy, laughing family. Nothing moves Scrooge more than the sight of Cratchit’s little crippled son, Tiny Tim. In each case the only shadow over the merriment is cast by a mention of his own name.
第三个鬼魂是《即将到来的圣诞节》，“一个庄严的幽灵，披着斗篷，戴着兜帽，像薄雾一样沿着地面而来”，向斯克鲁奇展示了一系列神秘、险恶的幻象，其中似乎有人死了。没有人会不在乎死者的去世。看来他在这个世界上没有一个朋友。在一间肮脏的小屋里，一群怪人正在瓜分他的财物，这些财物是从他刚冰冷的尸体周围偷来的。然后斯克鲁奇再次见到了克拉奇特一家。小蒂姆死了。最后，他看到了一块荒凉的小墓碑，上面刻着那个死去的人的名字，没有人哀悼，也没有人爱。这当然是他自己的。斯克鲁奇对他所看到的一切感到如此震惊，以至于他逐渐经历了转变。最后，他向消失的幻影许诺，如果有机会，他将彻底改变自己的生活。
The third ghost, of Christmas To Come, ‘a solemn phantom, draped and hooded, coming like mist along the ground’, shows Scrooge a sequence of mysterious, sinister visions in which it seems that someone has died. No one could care less about the passing of the dead man. It seems that he did not have a friend in the world. In a squalid hovel a group of grotesques are dividing his belongings, stolen from around his freshly-cold corpse. Then Scrooge sees the Cratchit family again. Tiny Tim is dead. Finally he is shown a bleak little gravestone recording the name of the man who has died, unmourned and unloved. It is of course his own. Scrooge is so horrified at everything he has seen that he has gradually been going through a transformation. He ends with a promise to the vanishing phantom that, if only he has the chance, he will utterly reform his life.
斯克鲁奇从噩梦中醒来，想象自己已经睡了三个晚上。他惊奇地发现现在还只是圣诞节的早上。因此，他有机会向他遇到和认识的每个人表达他的新自我，以慷慨和善意的龙卷风。他安排了一只巨大的火鸡送给鲍勃·克拉奇特，急忙向慈善绅士们提供了一份慷慨到几乎令人尴尬的捐款，最后闯入了他惊讶的侄子和他的家人参加他们的庆祝活动。第二天早上，他提高了薪水，令克拉奇特大吃一惊，从那天起，埃比尼泽·斯克鲁奇就成了小蒂姆的第二个父亲，“他没有死”，“作为一个好朋友，一个好主人，一个好人”。正如老城所知道的那样。1
Scrooge awakes from his nightmare, imagining that he has somehow slept through three nights. He is amazed to discover that it is still only the morning of Christmas Day. He thus has a chance to express his new found self in a tornado of generosity and goodwill to everyone he meets and knows. He arranges for a vast turkey to be sent round to Bob Cratchit, rushes to offer the charitable gentlemen a contribution so generous as to be almost embarrassing and finally breaks in on his astonished nephew and his family to join their celebrations. The following morning he amazes Cratchit by raising his salary, and from that day forth Ebenezer Scrooge becomes like a second father to Tiny Tim, ‘who did NOT die’, and ‘as good a friend, as good a master and as good a man as the old city knew’.1
犯罪与惩罚
Crime and Punishment
《圣诞颂歌》的情节几乎完全围绕实现斯克鲁奇“重生”所需的双重过程。一系列噩梦般的幻影的目的是打开他的意识，让他像别人看待他一样看待自己，并从一个新的视角中心看待世界；与此同时，作为这个过程中不可分割的一部分，唤醒他对他人有感觉的能力——就像凯在眼睛和心中的镜子碎片被移走时学会了看到和感觉一样。这个故事的中心救赎人物是小蒂姆，他从未有过的儿子，这个孩子，比任何人都更能唤醒他的爱的力量。
The action of A Christmas Carol centres almost entirely round the twofold process necessary to bring about Scrooge’s ‘rebirth’. The purpose of the succession of nightmarish apparitions is to open out his awareness, to allow him to see himself as others see him and to see the world from a new centre of perspective; and at the same time, as an inseparable part of this process, to awaken in him the ability to feel for others – just as Kay learned to see and to feel when the splinters of mirror were removed from his eye and his heart. And the central redeeming figure of the story who, more than anyone else, awakens his power to love is Tiny Tim, the son he never had, the Child.
陀思妥耶夫斯基的《罪与罚》是另一部十九世纪的小说，它展现了从主人公第一次经历黑暗的致命咒语到最终获得解放的整个重生模式。。影片的开头场景，我们在圣彼得堡遇见了作为一名贫穷的年轻学生的英雄罗迪昂·拉斯科尔尼科夫，这与《悲剧》的开头直接相似。拉斯柯尔尼科夫在这座大城市里过着绝望、漂泊的生活，周围都是人类残骸，比如醉酒的公务员马尔梅拉多夫，他的女儿索尼娅被迫卖淫，拉斯科尔尼科夫痴迷于幻想，如果他能犯下一些巨大的罪行，他就会以某种方式犯下一些巨大的罪行。向周围的数十万普通人展示了他的优越性。像拿破仑一样，他将表明他不会受到适合其他人的单调道德框架的限制（正如他后来所说的“我想看看我是否可以跨过”）。
Another nineteenth-century novel which presents the whole pattern of the Rebirth, from the moment when the hero first passes under the deadly spell of darkness through to his final liberation, is Dostoyevsky’s Crime and Punishment. The opening scenes, in which we meet the hero Rodion Raskolnikov as a poor young student in St Petersburg, are directly akin to the opening of Tragedy. In his hopeless, drifting life in the great city, surrounded by human wreckage like the drunken civil servant Marmeladov, whose daughter Sonia has been driven into prostitution, Raskolnikov becomes obsessed by the fantasy that if only he can commit some vast crime he will somehow have demonstrated his superiority to the hundreds of thousands of ordinary human beings around him. Like Napoleon, he will have shown that he is not to be confined by the humdrum framework of morality appropriate to everyone else (as he says later ‘I wanted to see whether I could step over or not’).
他的注意力集中在谋杀一位毫无吸引力的老妇人身上，她是附近的放债人。一段时间以来，我们看到他正在经历“一场痛苦的内心斗争”，当他思考自己的部分欲望的巨大性时，他在很大程度上是一种“分裂的自我”。一方面，他梦见自己还是一个小男孩，惊恐地看着一个醉酒的农民用棍棒打死他的马：年轻的拉斯科尔尼科夫在最后一刻冲进来，亲吻了垂死的马的嘴唇。另一方面，他看到了“迹象”表明他的行动是正确的，就像当他偶然听到一个学生在一家餐馆争论说杀死一些“愚蠢的、无知的、无价值的、邪恶的、衰老的老太婆并不是不道德的”时，他对任何人都没有用处，却积极地伤害所有人”。他的眼睛'。但他坚定了自己。他拜访了老妇人的公寓，并用斧头将她砍死，却惊恐地发现她的朋友丽莎维塔也在那里，出乎意料的是，他也不得不杀了她。
He finds his Focus in the plan to murder an unattractive old woman who acts as the neighbourhood moneylender. For some time we see him going through ‘an agonising inner struggle’, very much a ‘divided self’ as he contemplates the enormity of what part of him desires. On the one hand he has a dream of himself as a young boy, watching with horror as a drunken peasant clubs his horse to death: young Raskolnikov rushes in at the last moment to kiss the dying horse on the lips. On the other, he sees ‘signs’ that he is right to proceed, as when he happens to overhear a student in a restaurant arguing that it would not be immoral to kill some ‘stupid, senseless, worthless, wicked and decrepit old hag, who is of no use to anybody and who actively does harm to everybody’. Even when Raskolnikov is making his final preparations ‘they all possessed one strange characteristic: the more final they became, the more absurd and horrible they at once appeared in his eyes’. But he steels himself. He visits the old woman in her flat and hacks her to death with a hatchet, only to discover to his horror that her friend Lisaveta is also there and, unplanned, he has to kill her too.
拉斯科尔尼科夫犯下“黑暗行为”并成功安全逃脱，没有留下任何线索，但他并不觉得自己是一个伟大的英雄，从束缚普通凡人的道德束缚中解放出来。他发现自己越来越烦恼。他因一些完全不同的事情被叫到警察局，并听到有关这两名妇女被谋杀的传闻。他晕倒了。现在每个人都在谈论谋杀案。拉斯科尔尼科夫开始看到他被怀疑的“迹象”，比如当一个陌生男子在街上向他走来，似乎称他为“凶手”时。
Having committed his ‘dark act’ and managed to escape safely, leaving no clues, Raskolnikov does not, however, feel himself to be a great hero, liberated from the morality binding ordinary mortals. He finds himself more and more troubled. He is called to the police station about some quite different matter and hears talk of the murder of the two women. He faints. Everyone is now talking about the murders. Raskolnikov begins to see ‘signs’ that he is suspected, as when an unknown man comes up to him in the street and seems to call him ‘murderer’.
现在，索尼娅·马尔梅拉多夫（Sonia Marmeladov）在拉斯科尔尼科夫的生活和思想中扮演着越来越重要的角色，她是一个温顺的年轻妓女，尽管她为了养活醉酒的父亲、肺痨病的母亲和其他家庭成员而变得堕落，但她却虔诚地虔诚。事实上，拉斯柯尔尼科夫所受折磨的内部结构现在可以通过他对两个人物的交替采访来描绘：索尼娅和一位奇怪的权威、近乎慈父般的预审法官波尔菲里。在与索尼娅的第一次私人谈话中，拉斯科尔尼科夫出于某种原因要求她给他读拉撒路如何起死回生的故事。随后，他作为老放债人的客户名单之一，被波尔菲里传唤进行例行采访。精明的县长告诉他，犯下这种罪行的人最终都会投案自首，就像飞蛾扑向蜡烛一样。在第二次与索尼娅见面时，拉斯科尔尼科夫承认了自己的罪行。她同情他的痛苦，说她永远不会离开他。然后他回到波尔菲里，波尔菲里说他知道拉斯科尔尼科夫犯下了罪行，并且他最终将“决定接受痛苦”，坦白承认。
An increasingly important part is now played in Raskolnikov’s life and thoughts by Sonia Marmeladov, the meek young prostitute who, although she has become degraded to support her drunken father, consumptive mother and the rest of the family, is deeply religious. Indeed the inner structure of Raskolnikov’s torment may now be charted through his alternating interviews with two figures, Sonia and a strangely authoritative, almost fatherly examining magistrate, Porfiry. In his first private conversation with Sonia, Raskolnikov for some reason asks her to read him the story of how Lazarus was brought back from the dead. He is then summoned by Porfiry for a routine interview, as one of the old moneylender’s list of clients. The shrewd magistrate tells him that people who have committed such crimes will always eventually give themselves up, like moths coming to a candle. At his second meeting with Sonia, Raskolnikov confesses his crime. Pitying his terrible distress, she says she will never leave him. He then returns to Porfiry who says he knows that Raskolnikov has committed the crime and that he will eventually ‘decide to accept suffering’ by coming clean about it.
当其他人混乱的生活的噩梦从四面八方逼近他时——醉酒的马尔梅拉多夫在街上被碾死，他的妻子被赶出房间，发疯并死亡，拉斯科尔尼科夫妹妹杜尼娅的崇拜者开枪射击他自己——拉斯柯尔尼科夫终于不能再忍受了。他走进警察局自首，并被判处在西伯利亚战俘营服刑七年。
As the nightmare of other people’s disordered lives closes in on him from all sides – the drunken Marmeladov has been run over and killed in the street, his wife is evicted from her rooms, goes mad and also dies, the admirer of Raskolnikov’s sister Dunya shoots himself – Raskolnikov can at last take no more. He goes into the police station, gives himself up and is sentenced to seven years hard labour in a Siberian prison camp.
即使现在，当他开始服刑时，拉斯柯尔尼科夫仍然没有在内心正视自己的全部罪行。但忠实的索尼娅陪伴他前往西伯利亚，索尼娅住在集中营外，对其他囚犯来说，她几乎成了圣人，一个“小母亲”。最后，拉斯科尔尼科夫做了一场噩梦，整个世界都被一种可怕的疾病席卷，这让所有被这种疾病感染的人相信，只有他们是对的。每个人都互相对抗，直到所有人都被摧毁。这是一个可怕的世界，其中每个人都变得像他自己一样。拉斯科尔尼科夫被感动到了他的存在的核心，当他下次见到索尼娅时，他扑倒在地亲吻她的脚。她终于知道他开始苏醒并爱她。后来他拿起她的小本《新约》，
Even now, as he begins his sentence, Raskolnikov still has not faced up inwardly to the full extent of his guilt. But he is accompanied to Siberia by the faithful Sonia, who lives outside the camp, and becomes an almost saintly figure, a ‘little mother’, to his fellow prisoners. Finally Raskolnikov has a nightmare of the whole world being swept by a terrible disease, which gives all who are infected by it the conviction that they alone are right. Everyone is set against everyone else, until all are destroyed. It is the horrific vision of a world in which everyone has become like himself. Raskolnikov is moved to the core of his being, and when he next meets Sonia throws himself down to kiss her feet. She knows at last that he is beginning to come to himself and loves her. Later he picks up her little New Testament, from which she had read him the story of Lazarus, the man returned from the dead, and one thought flashes through his mind, ‘is it possible that her convictions can be mine too, now?’:
但那是一个新故事的开始，一个人逐渐重生的故事，一个他逐渐重生的故事，一个他逐渐从一个世界到另一个世界的故事，一个他熟悉一种新的、迄今为止未知的现实的故事…… .'
‘But that is the beginning of a new story, the story of the gradual rebirth of a man, the story of his gradual regeneration, of his gradual passing from one world to another, of his acquaintance with a new and hitherto unknown reality ...’
塞拉斯·马纳
Silas Marner
在《圣诞颂歌》中，中心救赎人物小蒂姆还是个孩子。在《罪与罚》中，这个角色是一个年轻的女孩，索尼娅。在乔治·艾略特的第三部十九世纪小说《塞拉斯·马纳》中，它是两者的结合。
In A Christmas Carol the central redeeming figure, Tiny Tim, was a child. In Crime and Punishment it is a young girl, Sonia. In a third nineteenth-century novel, George Eliot’s Silas Marner, it is a combination of both.
中心人物塞拉斯·马纳 (Silas Marner) 是一名织布工，15 年来，他一直独自住在拉维洛 (Raveloe) 乡村附近的一间孤零零的小屋里。他在遥远的一个制造业重镇长大，年轻时曾是一个默默无闻的宗教教派的成员，并与另一个名叫莎拉的女孩订婚。但有一天，马纳几乎就像中了邪恶的咒语一样，发现自己被该教派的第三名成员错误地指控偷了一些钱，而该成员也对莎拉有企图。马纳所有的清白申辩都是徒劳的，他被陷害并被判有罪，而他的奸诈原告，真正的小偷，已经完全赢得了莎拉的支持。马纳逃离了现场，最终回到了他孤独的小屋。
The central figure Silas Marner is a weaver who, for 15 years, has lived all alone in a solitary cottage near the country village of Raveloe. He had grown up far away in a great manufacturing town, where as a young man he had been a member of an obscure religious sect, engaged to another, a girl called Sarah. But one day, almost as if he had passed under an evil spell, Marner had found himself falsely accused of stealing some money by a third member of the sect, who also had designs on Sarah. All Marner’s protestations of innocence had been in vain, he had been framed and found guilty, and his treacherous accuser, the real thief, had completely won the day and the hand of Sarah. Marner had fled the scene, to end up in his lonely cottage.
起初，马纳和他的新邻居相处得还不错，但后来他们开始避开他，用恐惧和怀疑的目光看着这位孤独的织布工。他开始自暴自弃，全身心地投入到单调的工作中，渐渐地，他的生活被一种痴迷所占据，他对编织所得的黄金的热爱，他把这些黄金藏在小屋里，每天晚上都数着。
Initially Marner and his new neighbours had got on reasonably well, but then they had begun to shun him, looking on the solitary weaver with fear and suspicion. He had turned in on himself, throwing himself wholly into his monotonous work, and gradually his life had become taken over by an obsession, his love of the gold he received for his weaving, which he hoarded away in his cottage and counted every night.
经过多年这种痛苦而吝啬的生活后，马纳的生活突然以戏剧性的方式与教区另一个家庭的生活交织在一起。拉维洛的乡绅卡斯有两个儿子。年长的戈弗雷是个软弱的男人，他迷恋上了合格的南希·拉米特，但却无法求婚，因为他已经秘密地愚蠢地娶了附近小镇上一个出身卑微的女孩。他还落入了弟弟邓肯（Duncan）的勒索魔爪，邓肯是一个不择手段、不善行事的人。由于一系列典型的鲁莽和自私的错误，邓肯陷入了对金钱的绝望，一个大雾之夜，邓肯发现自己在马纳的小屋外面。门开着，‘老守财奴’出去了。邓肯无法抗拒偷走他的黄金储备的诱惑，然后消失了。
After many years of this embittered, miserly existence, Marner’s life suddenly becomes intertwined in dramatic fashion with that of another family in the parish. Squire Cass of Raveloe has two sons. The elder, Godfrey, is a weak man, enamoured of the eligible Nancy Lammeter, but unable to propose because he has already been secretly and foolishly married to a girl of humble origin in a nearby town. He has also fallen into the blackmailing clutches of his younger brother, Duncan, an unscrupulous ne’er do well. Led by a series of typically reckless and selfish errors into desperation for money, Duncan finds himself one foggy night outside Marner’s cottage. The door is open, the ‘old miser’ has gone out. Duncan cannot resist the temptation to steal his hoard of gold, and then disappears.
塞拉斯回来后发现自己失去了生命，就好像他的生命被剥夺了一样。随着所发生的事情的最初震惊逐渐消退，他的邻居们开始更加宽容地看待他，把他视为一个可怜的、绝望的生物，有点疯狂。他陷入自怜的沉思之中。圣诞节来临，其他人都忙着庆祝，天开始下雪，马纳的绝望达到了最低点。
Silas returns and discovers his loss and it is as if he has been robbed of his life. As the first shock of what has happened fades, his neighbours begin to look more indulgently on him, as a poor hopeless creature, slightly crazed. He sinks into self-pitiful brooding. The Christmas season comes, everybody else is busy celebrating, it begins to snow and Marner’s despair reaches its lowest point.
除夕夜，一个奇怪而可怜的人影在黑暗中艰难前行，驱赶积雪经过马纳的小屋。这是戈弗雷·卡斯被拒绝的妻子，她抱着他们的小女儿，她计划在庆祝活动中与她的丈夫和他的家人对峙。她身体虚弱，因鸦片而精神错乱，陷入冰冷的雪中死去。小女孩朝小屋的门亮着的光走去，发现门开着，就在马纳的火前睡着了。
On New Year’s Eve, a strange pathetic figure picks her way through the darkness and driving snow past Marner’s cottage. It is Godfrey Cass’s rejected wife, clutching their baby daughter, with which she plans to confront her husband and his family in the middle of their festivities. Weak and deranged by opium, she sinks down into the freezing snow to die. The little girl wanders off towards the light from the cottage door, finds it open and sinks down asleep in front of Marner’s fire.
当他回到房间时，过了一段时间他才注意到这个孩子，当他注意到时，正是她金色的卷发在火光中闪闪发光引起了他的注意。仿佛在幻觉中，他想象着那是他失去的黄金又回到了他的身边。但随后他发现那是一个小女孩，这个天真熟睡的孩子的景象激起了他自从来到拉维洛以来多年来从未体验过的感觉，“古老的温柔颤抖，古老的对即将来临的预感的敬畏印象”。某种力量主宰着他的生活”。
When he returns to the room it is some time before he notices the child, and when he does, it is her golden curls shining in the firelight which catch his attention. As if in a hallucination, he imagines that it is his lost gold which has been returned to him. But he then discovers that it is a little girl and the sight of the innocently sleeping child stirs in him feelings he has not known in all the years since he came to Raveloe, ‘old quiverings of tenderness, old impressions of awe at the presentiment of some Power presiding over his life’.
最终孩子的母亲被发现死亡，令所有人惊讶的是，马纳坚持保留这个奇迹般地出现在他生命中的小女孩。他给她取名为艾皮，我们很快就看到她的到来给他带来了多大的转变。“与黄金不同，黄金不需要任何东西，必须在封闭的孤独中被崇拜……埃皮是一个有着无尽的要求和不断增长的欲望的生物，寻求并热爱阳光、生动的声音和生动的动作。”
Eventually the child’s mother is found dead, and to everyone’s astonishment Marner insists on keeping the little girl who had arrived so miraculously in his life. He has christened her Eppie, and we soon see what a transformation her coming has produced in him. ‘Unlike the gold which needed nothing and must be worshipped in close-locked solitude ... Eppie was a creature of endless claims and ever growing desires, seeking and loving sunshine and living sounds and living movements.’
随着岁月的流逝，埃皮的生活逐渐展开，而马纳的“灵魂，长期在寒冷、狭窄的监狱中处于麻木状态，也逐渐展开，颤抖着，逐渐进入完全意识状态”。他变得开放、友善并受到所有人的喜爱：“这个小孩子再次将他与整个世界联系起来”。16 年后，当埃皮变成了一位迷人的年轻女子时，他们小屋附近的一个池塘被排干了，邓肯·卡斯的骨架被发现了，袋子里装着马纳丢失的金子：一切都得到了解释，一切都归还给了他。埃皮同意嫁给村里一个合适的年轻人，但前提是他们都能继续和她心爱的“父亲”一起生活在小屋里，自从她到来后，小屋就变成了一个美丽的花园。故事的结尾是埃皮对塞拉斯·马纳大喊“我想没有人比我们更幸福了”。
As the years go by and Eppie’s life unfolds, Marner’s ‘soul, long stupefied in its cold, narrow prison, was unfolding too and trembling gradually into full consciousness’. He becomes open, friendly and liked by all: ‘the little child had come to link him once more with the whole world’. After 16 years, when Eppie has become an attractive young woman, a pond near their cottage is drained and Duncan Cass’s skeleton is found, with the bags containing Marner’s lost gold: all is explained, and all is restored to him. Eppie agrees to marry a suitable young man of the village, but only on condition that they can both remain living with her beloved ‘father’, in the cottage which since her arrival has become surrounded by a beautiful garden. The story ends with Eppie exclaiming to Silas Marner ‘I think nobody could be happier than we are’.
这些十九世纪的小说中的每一部都描述了其主人公经历的本质上是相同的内心戏剧。在每一个中我们都看到：
Each of these nineteenth-century novels describes its hero going through what is essentially the same kind of inward drama. In each we see:
(1) 年轻时陷入黑暗势力阴影下的英雄；
(1) a hero who, as a young man, falls under the shadow of the dark power;
(2)毒药起效后，需要一定的时间才能占据上风并充分发挥其破坏作用；
(2) as the poison gets to work, it takes some time to get the upper hand and to show its full destructive effect;
（3）最终黑暗全面出现，使主人公陷入完全孤立的状态；
(3) eventually the darkness emerges in full force, plunging the hero into a state of total isolation;
（4）这最终导致一场噩梦般的危机，这是最终逆转的前奏；
(4) this culminates in a nightmare crisis which is the prelude to the final reversal;
（5）主人公“从睡梦中醒来”，并通过爱的力量获得解放。
(5) the hero ‘wakes from his sleep’, and is liberated through the power of love.
事实上，这种形式的重生故事最终让我们回到了悲剧探索结束时离开的地方。就像在一场悲剧中一样，我们从内部观察一个人被自己的黑暗部分占据时会发生什么。我们看到他陷入了以自我为中心的痴迷之中，这使得他既无法感受到自己之外的他人，也对发生在他身上的现实视而不见。然而，当他进一步陷入黑暗时，他并没有像悲剧英雄那样，直接陷入最终的毁灭。重生情节的特色是我们看到中心人物最终冻结在黑暗和孤独的状态中，似乎没有逃脱的希望。正是在这里，当光明偷偷地照进黑暗时，幻象出现了，激发了人们的复活，以一个特定的救赎人物为中心：故事总是有一个英雄、一个年轻女子或一个孩子。
In fact this form of the Rebirth story finally brings us back to the point where we left off at the end of our exploration of Tragedy. As in a tragedy, we are looking from the inside at what happens to someone when he becomes possessed by the dark part of himself. We see him passing into the grip of an egocentric obsession, which renders him both unable to feel for others outside himself and also blind to the reality of what is happening to him. As he sinks ever further into the darkness, however, he does not, like the tragic hero, just plunge on to final destruction. What marks out the Rebirth plot is the way we see the central figure eventually frozen in his dark and lonely state with seemingly no hope of escape. And it is here, as light stealing in on the darkness, that the vision appears which inspires the stirring back to life, centred on a particular redeeming figure: invariably, where the story has a hero, a Young Woman or a Child.
再次，就像《冰雪女王》中那样因此，我们看到发生在英雄身上的过程是我们在其他类型的故事中已经看到的熟悉的过程，即英雄从黑暗转向光明。他正在接触到自己性格中一些他以前没有意识到的更深层的部分。首先，这打开了他的眼睛，使他能够以全新的、非自私的视角看待世界；这让他第一次能够清楚、完整地看待一切。其次，这让他第一次真正感受到了无私。当他最终安全地移动到他的人格的这个新中心时，爱像一股不可阻挡的力量一样在他体内涌动，给他一种非凡的解放感，一种与“整个世界”联系在一起的感觉——他体验到了这种感觉，就像他终于来到了现实世界一样。他真实的、内心深处的自我。
Again, as in The Snow Queen, what we thus see happening to the hero is that familiar process which we have already seen in other types of story where the hero makes a switch from darkness to light. He is being put in touch with some deeper part of his personality which he has not previously been aware of. Firstly, this opens his eyes, enabling him to see the world from a wholly new, non-selfish perspective; it allows him for the first time to see everything straight and whole. Secondly, it enables him for the first time really to feel selflessly. As he finally moves securely to this new centre of his personality, love wells up in him like an unstoppable force, giving him a sense of extraordinary liberation, of being linked ‘with the whole world’ – and he experiences this as at last coming to his true, inmost self.
重生：总结
Rebirth: Summing up
我们现在可以总结这类故事的所有主要形式。它们背后都是相同的基本顺序：
We can now sum up this type of story in all the main forms which it can take. Behind them all is the same basic sequence:
(1)年轻的男女主人公陷入黑暗势力的阴影下；
(1) a young hero or heroine falls under the shadow of the dark power;
(2) 有一段时间，一切似乎进展顺利，威胁甚至似乎已经消退；
(2) for a while, all may seem to go reasonably well, the threat may even seem to have receded;
（3）但最终它再次全力逼近，直到男女主人公被囚禁在生死存亡的状态中；
(3) but eventually it approaches again in full force, until the hero or heroine is seen imprisoned in the state of living death;
（4）这种情况持续了很长一段时间，似乎黑暗势力已经完全胜利了；
(4) this continues for a long time, when it seems that the dark power has completely triumphed;
（5）但最后还是奇迹般的救赎：要么，如果被囚禁的人物是女英雄，则被英雄救赎；要么，如果被囚禁的人物是女英雄，则被英雄救赎；或者，如果是英雄的话，则是由一位年轻女子或一个孩子所写。
(5) but finally comes the miraculous redemption: either, where the imprisoned figure is a heroine, by the hero; or, where it is the hero, by a Young Woman or a Child.
这类故事打动我们的力量在于，当我们看到男女主人公被冻结在孤立的、被囚禁的状态时，他们的处境与解放开始的那一刻，当我们看到他们从黑暗中被释放时，他们的处境之间的对比权力冰冷的握力。当黑暗力量占主导地位时，我们一次又一次地看到相同范围的图像被用来唤起以前的状态：
The power of this type of story to move us lies in the contrast between the condition of the hero or heroine when we see them frozen in their isolated, imprisoned state and the moment when the liberation begins, as we see them being released from the dark power’s icy grip. Again and again we see the same range of imagery being used to conjure up the former state, when the dark power is dominant:
寒冷、坚硬、不动、收缩、睡眠、黑暗、疾病、腐烂、孤立、折磨、绝望、缺乏爱。
coldness, hardness, immobility, constriction, sleep, darkness, sickness, decay, isolation, torment, despair, lack of love.
最后，随着春天紧接着冬天，我们看到了与这种状态完全对应的图像
Finally, prevailing against that state as spring follows winter, we see the exactly corresponding imagery of
温暖、柔软、运动、解放、觉醒、光明、健康、成长、团结、幸福、希望、爱。
warmth, softness, movement, liberation, awakening, light, health, growth, joining together, happiness, hope, love.
从各个方面来说，它都标志着从普遍存在的一极到另一极、从死亡到生命的转变：因此，我们将这种巨大的转变视为“重生”。但我们可以看到这个基本的底层戏剧以三种不同的方式呈现。
On every count it marks the move from one universal pole of existence to the other, from death to life: hence the reason why we see this mighty transformation as ‘rebirth’. But we can see this basic underlying drama presented in three different ways.
最初，与我们早年遇到的故事类型相对应，我们可能会看到天真的但尚未发展的年轻男女主人公落在黑暗力量的阴影下，因为黑暗力量在他们之外以神秘、恶毒的形象化身。但正是他们自身的不成熟状态和有限的意识，让他们无法抵挡黑暗力量，将他们无情地卷入其中。过了很长一段时间，他们才准备好被释放。
Initially, corresponding to the kinds of story we come across early in life, we may see the innocent but undeveloped young hero or heroine falling under the shadow of the dark power as it is personified in a mysterious, malevolent figure outside them. Nevertheless it is their own immature state and limited awareness which renders them unable to withstand the dark power, drawing them inexorably into its grip; and only after a long time are they ready to be released.
最终，与我们在成人生活中更熟悉的故事类型相对应，我们可能会看到黑暗力量更直接地表现为完全来自男女主人公自身性格的东西：他们无法承受邪恶的咒语他们被自己的黑暗部分所笼罩。
Eventually, corresponding to the kinds of story we are more familiar with in adult life, we may see the dark power represented much more directly as something springing entirely from within the hero or heroine’s own personality: they have been unable to withstand the evil spell cast over them by the dark part of themselves.
在中间，作为两者之间的桥梁，我们可能会看到这两件事都发生的故事：黑暗力量最初在英雄之外的魔法人物中人格化，他们将他置于咒语之下：但它的效果是在哪里？把他自己变成一个黑暗的人物。
In the middle, as a bridge between the two, we may see the kind of story where both these things happen: where the dark power is initially personified in magical figures outside the hero, who place him under a spell: but where its effect is to turn him into a dark figure himself.
在结束对重生故事的探索之前，我们将再看一下情节可以采用的每一种基本形式的另一个例子。
Before we conclude this exploration of the Rebirth story we shall look at one more example of each of these basic forms which the plot can assume.
费德里奥
Fidelio
第一个例子表明，我们不必只在童话故事或主要为儿童写的故事中看到一个英雄，他被身外的黑暗人物困在生死存亡的状态中。贝多芬歌剧《费黛里奥》的感人至深的故事，为我们提供了另一个从女主人公的角度来看被囚禁的英雄被女主人公释放的例子。但我们并不是像《美女与野兽》中那样，看到一个天真、相对被动的年轻女主人公，在不知不觉中实现了英雄的解放。这里，就像《冰雪女王》中成人版的格尔达一样，我们看到了一个不只是心地善良的女主角；她是故事中最“活跃”的人物，坚定、勇敢，并充分意识到自己在做什么，因为她着手将她的英雄从肉体和精神的禁锢中解救出来，这种禁锢使他陷入无助、无能和绝望。
The first example shows how it need not be only in fairy tales, or in stories written primarily for children, that we may see a hero who is trapped in a state of living death by a dark figure outside him. The profoundly moving story of Beethoven’s opera Fidelio provides us with another instance of an imprisoned hero being released by a heroine, seen from the heroine’s point of view. But we are not here looking, as in Beauty and the Beast, at a naive, relatively passive young heroine who achieves the hero’s liberation unwittingly. Here, as in the adult version of Gerda in The Snow Queen, we see a heroine who is not just good hearted; she is the most ‘active’ figure in the story, determined, courageous and fully aware of what she is doing, as she sets out to rescue her hero from a physical and spiritual imprisonment which has reduced him to helpless impotence and despair.
歌剧的主人公弗洛雷斯坦被邪恶的暴君皮萨罗抓住，并被扔进了皮萨罗担任监狱长的可怕监狱最深、最秘密的地牢。人们甚至普遍认为消失的弗洛雷斯坦一定已经死了（就像《冰雪女王》中那样）人们认为凯失踪时肯定已经死了），但他的妻子莱奥诺尔（和格尔达一样）拒绝相信这一点，并决定营救他。首先，她把自己伪装成一个年轻人，就像莎士比亚喜剧中扮演主要解放角色的“活跃”女主角波西娅、维奥拉或罗莎琳德一样，并说服自己担任皮萨罗监狱的狱长罗科的助理。在相对舒适的国内开场之后，就好像这部歌剧是一部喜剧（罗科的女儿表达了她对“年轻人”的爱），然后我们遇到了冷酷的暴君皮萨罗本人，他得知神秘的“部长”正在前往监狱的路上，调查有关皮萨罗不公正地行使权力的指控。意识到自己不敢让部长发现弗洛雷斯坦，皮萨罗准备杀死他的受害者，命令罗科挖坟墓，并安排吹喇叭警告他部长接近。第一幕结束时，所有其他囚犯都被允许短暂呼吸新鲜空气和阳光，他们将这比作从坟墓中出来，然后再次陷入黑暗。
The hero of the opera, Florestan, has been seized by an evil tyrant Pizarro, whose crimes he had been about to expose to the world, and thrown into the deepest, most secret dungeon of the fearsome prison of which Pizarro is governor. It is even generally assumed that the disappeared Florestan must be already dead (as in The Snow Queen it was assumed that Kay must have died when he disappeared), but Leonore his wife – like Gerda – refuses to believe it and determines to rescue him. First she disguises herself as a young man, like the ‘active’ heroines who play a chief liberating role in Shakespearean comedy, Portia, Viola or Rosalind, and talks herself into the post of assistant to the chief gaoler of Pizarro’s prison, Rocco. After a comparatively cosy domestic opening, as if the opera were Comedy (with Rocco’s daughter expressing her love for the ‘young man’), we then meet the grim tyrant Pizarro himself, who learns that the mysterious ‘Minister’ is on his way to the prison to enquire into accusations that Pizarro has been exercising his authority unjustly. Realising that he dare not allow the Minister to discover Florestan, Pizarro makes preparations to kill his victim, ordering Rocco to dig the grave and arranging for a trumpet to sound to warn him of the Minister’s approach. The first act ends with all the other prisoners allowed briefly up into the fresh air and sunlight, which they compare to emergence from the grave, before they are plunged down into the darkness again.
直到第二幕开始，我们才终于在威胁不断增强的气氛中见到了英雄本人——当我们深入地下深处，到达肮脏的地牢时，弗洛里斯坦被限制在永久的黑暗中，沉重的链条。他处于绝望的深渊，认为自己即将死去：但短暂地想象他感受到了一阵“温柔、柔和的微风”，并看到他的“坟墓被天使的幻象照亮”，就像我的妻子莱昂诺尔一样，谁引导我进入天国的自由”。当他筋疲力尽地再次倒下时，罗科和莱奥诺尔走进黑暗中为他挖坟墓。甚至在她认出那个影子囚犯之前，莱昂诺尔就对他的可怕困境充满了怜悯。当她看到他到底是谁时，她震惊地晕了过去，但恢复过来并设法给了他一块面包。然后可怕的皮萨罗进来谋杀弗洛雷斯坦。当他正要刺伤囚犯时，莱奥诺尔从阴影中冲上前，扑到了丈夫面前。皮萨罗正要跳上前去刺杀他们俩，这时她拔出了手枪——就在这时，远处的喇叭声响起。就在紧要关头，部长来了。弗洛雷斯坦得救了。
It is only at the beginning of Act Two that we are at last, amid the atmosphere of steadily gathering threat, allowed to see the hero himself – as we penetrate far beneath the earth to the squalid dungeon where Florestan is confined in perpetual darkness, in heavy chains. He is in the depths of despair, thinking he is about to die: but briefly imagines that he feels a ‘gentle, soft stirring breeze’ and sees his ‘tomb illumined’ by the vision of ‘an angel, so like my wife Leonore, who leads me to freedom in the Heavenly Kingdom’. As he sinks down again, exhausted, Rocco and Leonore descend into the darkness to dig his grave. Even before she recognises the shadowy prisoner, Leonore is overcome with pity for his dreadful plight. When she sees who it actually is, she faints with shock, but recovers and manages to give him a crust of bread. Then the fearsome Pizarro enters to murder Florestan. He is about to stab his prisoner when Leonore rushes forward from the shadows to throw herself in front of her husband. Pizarro is about to leap forward to stab them both, when she pulls out a pistol – and just then the distant trumpet sounds. In the nick of time the Minister has arrived. Florestan is saved.
故事结束时，每个人都回到了地面，在露天和阳光下。部长命令将怪物皮萨罗带走，以惩罚他所有的罪行，并告诉莱奥诺尔，只有她有权将弗洛雷斯坦从他的锁链中解救出来。歌剧以热烈的合唱歌颂莱昂诺尔的勇气和忠诚结束，围绕着她和弗洛里斯坦再次团结的难以言表的喜悦，但也伴随着一种感觉，即监狱中的所有其他囚犯都因光明的胜利而得到了救赎。莱奥诺尔带来的黑暗。2
The story ends with everyone back above ground, in the open air and sunshine. The Minister orders the monster Pizarro to be taken away for punishment for all his crimes, and tells Leonore that it is her right alone to cut Florestan from his chains. The opera ends on a blazing choral celebration of Leonore’s courage and fidelity, surrounding the central inexpressible joy of herself and Florestan at being again united – but also with a sense that all the other denizens of the prison have been redeemed by the victory of light over darkness which Leonore has brought about.2
秘密花园
The Secret Garden
我们的第二个例子是一个故事，虽然是为儿童写的，但反映了更熟悉的成人版本的主题，其中监禁被显示为从内部涌出。事实上，弗朗西斯·霍奇森·伯内特的《秘密花园》并不只向我们展示了一个被监禁的中心人物。随着剧情的展开，我们认识到不少于三个主角，他们每个人都被困在各自独立的监狱里。故事的累积力量在于，女主人公的逐渐解放引发了一种连锁反应，每个人都依次获得解放：直到最后，故事中涉及的每个人都陷入了普遍的重生之中。 。
Our second example is of a story which, although written for children, reflects the more familiar adult version of the theme where the imprisonment is shown as springing from within. In fact Frances Hodgson Burnett’s The Secret Garden does not show us only one central character who is imprisoned. As the action unfolds we recognise no fewer than three main characters who have each become trapped in quite separate imprisonments of their own. The cumulative power of the story lies in the way the gradual liberation of one, the heroine, sets off a kind of chain reaction whereby each in turn is liberated: until by the end everyone involved in the story has been caught up in the general rebirth.
我们第一次见到故事的女主人公玛丽·伦诺克斯时，她还是个小女孩，和父母一起生活在印度，当时正值大英帝国的爱德华七世时代。玛丽是一个脾气暴躁、体弱多病、自私的孩子，同样自私的父母却没有给予她任何爱。她几乎唯一见到的人就是印度仆人，她对待他们很恶劣。然后有一天，她的父母和护士死于一场瘟疫，玛丽被送到半个地球的另一边，住在约克郡米瑟斯韦特庄园的一栋偏远豪宅里，这座豪宅属于她的叔叔阿奇博尔德·克雷文。
We first meet the story’s heroine, Mary Lennox, when she is a little girl living in India with her parents, in the Edwardian heyday of the British Empire. Mary is a sour-tempered, sickly, selfish child who has been given no love by her equally selfish parents. Almost the only people she sees are the Indian servants, whom she treats badly. Then one day her parents and her nurse die in a plague, and Mary is sent half across the world to live in a remote mansion in Yorkshire, Misselthwaite Manor, which belongs to her uncle Archibald Craven.
在这里，在这座伟大而神秘的房子里，外面是荒凉的荒原，玛丽发现自己身处一个奇怪的、阴暗的王国里，这个王国本身似乎陷入了黑暗的魔咒之中。渐渐地，她试图解开笼罩在这座房子上的一些谜团。为什么她驼背的叔叔克雷文先生总是不在，如此迷失自我，如此不高兴？为什么花园里有一个特殊的地方被锁在高墙后面，不准任何人进入？更险恶的是，当风从荒原上呼啸而过时，玛丽认为她在房子的某个遥远的地方听到的奇怪的哭声是什么？
Here, in this great, mysterious house, with the bleak moors outside, Mary finds herself in a strange, shadowy kingdom which itself seems to have fallen under a dark spell. Gradually she tries to unravel some of the mysteries which shroud the house. Why is her crook-backed uncle Mr Craven always away, so lost in himself and so unhappy? Why is there a special part of the garden locked away behind high walls, where no one is allowed to go? More sinister still, what is that strange crying which Mary thinks she hears in some far-off part of the house at night, when the wind is whistling off the moors?
这些谜团的线索似乎在于十年前发生在这所房子上的可怕事件，当时克雷文先生美丽的年轻妻子从那个“秘密花园”的一棵树上掉下来身亡，这就是为什么现在它被锁了以及为什么玛丽的叔叔似乎永远处于绝望之中。但现在，就连米瑟斯韦特庄园的工作人员似乎也陷入了同样的魔力——唯一微笑且举止正常的人是玛莎，一位开朗的女仆，她住在荒原上的一间小小屋里，是一家 12 口人中的一员。孩子们。
A clue to these mysteries seems to lie in the terrible event which had fallen on the house 10 years earlier, when Mr Craven’s beautiful young wife had fallen to her death from a tree in that ‘secret garden’, which is why it is now locked away and why Mary’s uncle seems frozen in perpetual despair. But now even the staff of Misselthwaite Manor seem caught up in the same enchantment – the only one who ever smiles and behaves normally is Martha, the cheerful maid, who lives in a little cottage out on the moors, as one of a family of 12 children.
尽管玛丽仍然是一个孤独、尖酸刻薄的小女孩，但几乎不由自主地，玛丽开始对她在房子周围的花园里看到的所有陌生事物感到好奇，比如友好的小知更鸟，它和玛莎一样，似乎充满生机，不受影响。普遍阴郁的气氛。事实上，是知更鸟和玛莎首先向玛丽介绍了这条神奇的线索，这条线索最终将引导她走出围绕着她的痛苦迷宫。知更鸟挖出了埋在花坛里的生锈的旧钥匙，引导玛莎穿过一扇长满常春藤的门进入秘密花园。她发现这里荒芜且杂草丛生，但却是她见过的最美丽的地方。她渴望在那里种植东西，但不知道如何开始。玛莎建议最好的帮助者是她的弟弟，迪肯——从玛丽看到这个男孩的那一刻起，很明显他代表了阴暗的死亡之屋及其被遗弃、被忽视的秘密花园所不代表的一切。开朗、直接，没有一丝自私或狡诈，他就像大自然本身的精灵一样，在荒原上漫步时，不断被鸟类和动物包围，用烟斗迷人的狐狸、松鼠和寒鸦——他可以“让花朵生长”从砖墙出来’。
Although she is still a solitary, sour little girl, almost despite herself Mary begins to feel curiosity about all the unfamiliar things she sees in the gardens round the house, such as the friendly little robin who, like Martha, seems full of life and unaffected by the general air of gloom. Indeed it is the robin and Martha who first introduce Mary to the magical thread which is eventually going to lead her out of the labyrinth of misery which surrounds her. The robin digs up the rusty old key buried in a flowerbed which leads Martha through an ivy-covered door into the secret garden. She finds it wild and overgrown but the most beautiful place she has ever seen. She feels the urge to grow things there, but does not know how to begin. Martha suggests that the best person to help would be her young brother, Dickon – and from the moment Mary sets eyes on the boy, it is clear that he stands for everything the gloomy house of death and its abandoned, neglected secret garden is not. Cheerful, direct, without a hint of selfishness or guile, he is like the spirit of nature itself, constantly surrounded by birds and animals as he roams the moors, charming foxes and squirrels and jackdaws with his pipe – and he can ‘make flowers grow out of a brick wall’.
迪肯很高兴帮助玛丽清理花园并播种。冬去春来，秘密花园的四面八方都长出了鳞茎，鸟儿筑巢。玛丽现在眼睛明亮，贪婪的胃口让仆人们惊叹不已，这是她一生中第一次被真正的热情所激发——正是这一点让她为迎接她最后一天晚上所面临的考验做好了准备。神秘抽泣的来源。她藏在房子中心的一个秘密房间里，发现了一个瘸腿、体弱多病的男孩，科林，克雷文先生的儿子。在玛丽和他的父亲之后，科林是故事中的第三个主要囚犯，从某些方面来说，科林的困境是最糟糕的。一个自怜的忧郁症患者，一生的大部分时间都在床上度过，担心自己很快就会死去，容易勃然大怒，视仆人如粪土，他就是个小怪物。但是，在她新发现的精神的鼓舞下，玛丽不会再有这种自私的行为。她告诉他关于她的秘密花园和迪肯的事，她用自己的一些热情感染了他，并不得不答应带迪肯去科林的卧室。从这一刻起，故事的一切都朝着向上的趋势发展。春去夏来，秘密花园变得更加生机勃勃。科林变得足够坚强，可以与迪肯和玛丽一起坐在轮椅上秘密参观花园，甚至冒险从椅子上站起来行走：“我会康复的。” 我将永远活下去，永远活下去。” 他为他们所有人创造了一种崇敬“魔法”的仪式，生命和自然的治愈力量在他们周围无处不在，他能感觉到它随着每一天的流逝而改变着他。最终，其中一名仆人对这些神秘事件感到非常惊讶，以至于她给正在异国他乡长期悲惨流浪的克雷文先生发了一封电报，建议他回家。他突然回来，听到墙后传来笑声，花园里自从他妻子去世后就没有人进入过。当他打开门时，一个身材高大、看上去很健康的男孩从他身边冲了过去：克雷文先生惊讶地凝视着——这是他的儿子，他最后一次见到他时还是一个无法治愈的病人。故事的结尾是父子俩笔直、高大、快乐地一起走回房子。黑暗的魔咒终于被解除了。
Dickon is delighted to help Mary clear the garden and to plant seeds. Winter is turning to spring, soon there are bulbs pushing up on every side in their secret garden, birds building nests. Mary is now bright-eyed, amazing the servants by her ravenous appetite, for the first time in her life fired by real enthusiasm – and it is this which prepares her for the test which confronts her when she at last, one night, tracks down the source of the mysterious sobbing. Hidden away in a secret room at the heart of the house, she finds a crippled, sickly boy, Colin, Mr Craven’s son. After Mary and his father, Colin is the third major prisoner of the story, and in some ways in the worst plight of all. A self-pitiful hypochondriac, who has spent most of his life in bed, fearing that he will shortly die, liable to fly into terrible rages, treating the servants like dirt, he is a little monster. But, buoyed up by her newfound spirit, Mary will have none of this selfish behaviour. She tells him about her secret garden and Dickon, she infects him with some of her own enthusiasm and has to promise to bring Dickon up to Colin’s bedroom. From this moment on, the tendency of everything in the story is upward. As spring turns to summer, the secret garden becomes ever more full of life. Colin gets strong enough to make secret visits to the garden in a wheelchair with Dickon and Mary, and even ventures out of his chair to stand and walk: ‘I shall get well. And I shall live for ever and ever and ever’. He creates for them all a kind of ceremonial in reverence for the ‘magic’, the healing power of life and nature which is bursting out everywhere around them and which he can feel transforming him with every day that passes. Eventually one of the servants is so amazed by these mysterious events that she sends a telegram to Mr Craven, who is on one of his long, miserable wanderings in foreign lands, suggesting that he come home. He returns unannounced to hear laughter from behind the wall, in the garden where nobody is supposed to have entered since his wife’s death. As he opens the door, a tall, healthy looking boy rushes past him: Mr Craven stares in astonishment – it is his son, whom he last saw as an incurable invalid. The story ends with father and son walking together, straight, tall and happy, back to the house. The dark spell has at last been lifted. Everyone in the little kingdom of Misselthwaite has been redeemed and is at one – with each other, with nature and with the boundless power of life which, thanks to Dickon, is now pouring indivisibly through them all.
皮尔·金特
Peer Gynt
对于重生情节的最后一个例子，我们回到了那种故事，就像《冰雪女王》中一样，英雄受到了体外黑暗人物施加的邪恶咒语的影响，但结果是他自己也变成了一个黑暗人物。他完全被黑暗所占据，无论是从外部还是从内部。事实上，易卜生的半寓言《培尔·金特》不仅是我们所看过的重生故事中最复杂的例子，而且是有史以来心理上最复杂的故事之一。
For a final example of the Rebirth plot we return to the kind of story where, as in The Snow Queen, the hero falls under an evil spell cast by dark figures outside him, but with the result that he becomes a dark figure himself. He is completely possessed by darkness, both from without and within. In fact Ibsen’s semi-allegorical Peer Gynt is not only the most complicated example of the Rebirth story we have looked at, but psychologically one of the most ambitiously complex stories ever written.
当我们见到主人公皮尔·金特时，他已经20岁了，正处于成年生活的边缘，是一个无可救药的骗子和浪漫主义者（从两个意义上来说，都是一个幻想家和一个女人迷）。他和他的母亲去参加一个乡村婚礼，皮尔受到了所有人的嘲笑，就像《白手起家》故事中的英雄一样——尽管对他来说，人们嘲笑他这是有道理的，因为他是一个自吹自擂的讲故事的人。一位端庄的年轻女孩索尔维格和她的家人进来了，皮尔立刻被迷住了：“多可爱啊！” 我从来没有见过像她这样的人，她的眼睛盯着地面……还有她……用头巾裹着祈祷书的样子。” 但无可救药的皮尔仍然无法抗拒试图将抗议的新娘带到山腰上，而当她逃离他的时候，他遇到了一位美丽而神秘的绿衣女子。她带他进入她父亲的地下宫殿“山王殿”。事实上，皮尔已经降临到了巨魔的王国，在那里他被告知“在我们中间……黑色看起来像白色，丑陋像公平”（与《冰雪女王》中魔术师的镜子或“黑暗姐妹”的回声）在《麦克白》中–“公平即犯规，犯规即公平”）。巨魔国王和他的宫廷试图将皮尔变成巨魔。一位老朝臣告诉他：“在人间，天空明亮的地方，有一句话：‘人，要诚实’。” 但在巨魔中，有一句俗话：“巨魔，你自己就足够了”。这将是整个故事的主题。
When we meet the hero, Peer Gynt, he is on the verge of adult life, 20 years old, and an incorrigible liar and romancer (in both senses, a fantasiser and a woman-iser). He and his mother go off to a village wedding party, where Peer is jeered at by everyone, like the hero of a Rags to Riches story – although in his case the scorn is justified, because he is a boastful teller of tales. A demure young girl Solveig enters with her family, and Peer is at once smitten: ‘How lovely! I’ve never seen anyone like her, with her eyes on the ground ... and the way she... carried her prayer book wrapped in a kerchief’. But the incorrigible Peer still cannot resist trying to take the protesting bride off onto the mountainside and here, while she escapes from him, he meets a beautiful and mysterious Woman in Green. She takes him off into the subterranean palace of her father, ‘the Hall of the Mountain King’. Peer has in fact descended into the kingdom of the trolls, where he is told that ‘among us ... black looks like white and ugly like fair’ (an echo of the magician’s mirror in The Snow Queen, or the ‘dark sisters’ in Macbeth – ‘fair is foul and foul is fair’). The Troll King and his court try to turn Peer into a troll. One old courtier tells him ‘Outside among men, where the skies are bright, there’s a saying “Man, to thyself be true”. But here among the trolls the saying runs “Troll, to thyself be – enough”.’ This is to be the theme of the whole story.
皮尔认为“一个人应该适应当地的生活方式”，他同意接受各种仪式，这将使他变成一个巨魔，但他最终拒绝了一项将永远消除他清晰视力的手术。年轻的巨魔们向他发起攻击，就像爱丽丝梦游仙境中的那一刻一样当爱丽丝被扑克牌激怒时，他只是在千钧一发之际被远处教堂的钟声救了出来，钟声驱散了巨魔的混乱。培尔突然发现自己独自一人在山腰上，随后出现了奇怪的一幕，培尔在黑暗中与神秘的声音进行交流。'你是谁？' 皮尔问道。“我自己”这个声音回答道，“你能说这么多吗？” 这是无形的大博伊格，它告诉皮尔他还有很长的路要走，他将不得不“绕圈”。皮尔回到了男人的世界。
Taking the view that ‘one should fit in with the local ways’, Peer agrees to undergo various rites which will turn him into a troll, but he finally baulks at an operation which will remove his clear sight forever. The younger trolls set on him, rather like the moment in Alice in Wonderland when Alice is set on by the playing cards, and he is only saved in the nick of time by the sound of distant church bells which scatter the trolls in disorder. Peer suddenly finds himself alone on the mountainside, and there follows a curious scene in which Peer has an exchange in the darkness with a mysterious voice. ‘Who are you?’ asks Peer. ‘Myself’ answers the voice, ‘can you say as much?’ It is the shapeless Great Boyg, which tells Peer he has a long journey to go, and that he will have to ‘go round about’. Peer returns to the world of men.
接下来我们看到他在森林里建了一座小屋，并说服可爱的索尔维格放弃一切来和他住在一起。一切似乎都很顺利：皮尔说：“我的皇家公主！” 我找到了她并赢得了她”。但随后一位年老的巨魔女人进来了，绿衣女人变老了，带着皮尔的儿子，她告诉他，他不会独自一人享受与索尔维格的爱情。“当你和那个女人坐在火边时，当你充满爱意并想要拥抱时，我会坐在你旁边，请求我的那一份。” 当皮尔愤怒地对她大喊“你这个来自地狱的噩梦”时，她回答说他只是被自己的“思想和欲望”所困。他意识到他的皇宫已经倒塌了。一堵墙围绕着索尔维格，他的“最纯粹的宝藏”，现在没有任何道路可以直接通向她。正如博伊格预言的那样，他将不得不“四处走动”。如果他能真正悔改，或许一切都会好起来，但‘这片蛮林’却没有人教他如何悔改。他将不得不离开索尔维格。她承诺，无论需要多久，她都会等他。他沿着森林小路走去，把她留在小屋门口，在他母亲去世后，他出发“前往海岸”。
We next see him having built a hut in the forest and persuaded the lovely Solveig to abandon everything to come to live with him. All seems well: Peer says ‘My royal princess! I have found her and won her’. But then an aged troll woman enters, the Woman in Green grown old, leading Peer’s son, and she tells him that he will not he left alone to enjoy his love with Solveig. ‘When you sit with that woman by the fire, when you’re loving and want to embrace, I shall sit beside you and ask for my share.’ When Peer angrily shouts at her ‘you nightmare from hell’, she replies that he has only been trapped by his own ‘thoughts and desires’. He realises that his royal palace has crashed to the ground. A wall has grown up round Solveig, his ‘purest treasure’, and there is now no way which passes straight to her. As the Boyg foretold, he will have to ‘go round about’. If only he could truly repent, everything might be all right, but there is no one in ‘this savage forest’ to teach him how. He will have to leave Solveig. She promises that, however long it takes, she will wait for him. He goes off down the forest path, leaving her at the door of the hut, and, after the death of his mother, sets off ‘for the sea coast’.
当我们下次见到皮尔时，已经是很多年以后了。他已经人到中年，而且非常富有。他在摩洛哥与四位客人坐在一起，以百万富翁那种自我放纵的方式问他们“一个人应该是什么样的？” 好吧，我的简短回答是他自己……当他背负着其他人的重担时，他就不可能成为这样的人。人民的苦难'。他阐述说，“自我”是一堆“幻想、渴望和欲望”，简而言之，“是什么在我的胸中搅动，让我过着我自己的生活”。我们了解到，金特以一种相当声名狼藉的方式赚了数百万美元，通过奴隶、武器、圣经和任何能赚钱的东西进行交易，并且变得完全自以为是（事实上，不久之后，在他的客人不同意他的观点之后，他很高兴看到他们的游艇被雷击沉没）。但他内心仍然对“做自己”的真正含义感到困扰。在沙漠中，他观察到一些蜥蜴：“它们晒着太阳，毫无忧虑地奔跑着。” 他们多么遵守造物主的旨意，每个人都履行着自己特殊的、不可改变的角色。他们本身就是风雨同舟：正如他的第一个命令一样，贝！然而时间并不长，在金特梦想着如何淹没沙漠以建立一个伟大的新国家金蒂亚纳之前，这将使他永生（“一场对抗死亡的圣战：那个可怕的守财奴将被迫释放他所囤积的黄金”）。事实上，为了寻求自我实现，他尝试的下一个角色是先知，在此过程中他与舞者安妮特拉有染。她离开了他，他决定“告别爱情的乐趣”，转而追求“真理之谜”。当一个新的兴趣忙碌地转向下一个时，他最终被他博学的朋友贝格里芬费尔特带去参观精神病院，贝格里芬费尔特观察到囚犯们都在为自己而活。“这里没有人为别人的悲伤而流泪，没有人考虑别人的想法”，这里的每个人都“被封闭在一个自我的桶里”。罪与罚。在这个“自我帝国”里，被一群胡言乱语的疯子包围着，金特终于昏倒了。
When we next see Peer it is many years later. He has become middle-aged and enormously rich. He is sitting with four guests in Morocco and, in the expansively self-indulgent manner of a millionaire, asks them ‘What ought a man to be? Well, my short answer is Himself ... a thing he cannot be when burdened with other people’s woes’. He elaborates that the ‘self’ is a mass of ‘fancies, cravings and desires’, in short ‘what stirs inside my breast and makes me live my life as Me’. We learn that Gynt has made his millions in a fairly disreputable fashion, trading in slaves, arms, Bibles, anything that would make a profit, and has become totally self-righteous (indeed shortly afterwards, after his guests have disagreed with him, he is delighted to see their yacht sunk, by a thunderbolt). But he is still inwardly troubled by what it really means to ‘be one’s self’. In the desert he observes some lizards: ‘they bask in the sun and scuttle about with no worries at all. How well they obey the Creator’s behest, each fulfilling his own special immutable role. They are themselves through thick and thin: as they were at his first order, Be!’ It is not long, however, before Gynt is dreaming of how he might flood the desert to produce a great new country, Gyntiana, which would bring him immortality (‘a holy war against Death: that grisly miser shall be forced to free the gold that he has hoarded’). In fact the next role he tries, in his search for self-fulfilment, is that of Prophet, in the course of which he has an affair with the dancer Anitra. She leaves him, and he decides to say ‘farewell to the pleasures of love’ and to pursue instead ‘the riddle of truth’. As one new interest leads hectically on to the next, he is finally taken on a visit to a lunatic asylum by his learned friend Begriffenfeldt, who observes that the inmates are all living for themselves. ‘No one here sheds tears for another’s sorrows, no one considers any one else’s ideas’, everyone here is ‘enclosed in a barrel of self’. The effect on Gynt of seeing a world in which everyone is in a kind of caricature of his own egocentric condition is like that of Raskolnikov’s nightmare at the end of Crime and Punishment. Surrounded by the gibbering lunatics in this ‘Empire of Self’, Gynt finally sinks down insensible.
最后一幕开始于金特乘船返回挪威，决心在一个农场安静地定居，但他仍然无法抗拒建造它的梦想，直到“它像一座城堡”。船失事了，金特获救，并徘徊在山上。他现在陷入了深刻的反思，却发现自己没有什么可以依靠的。突然，他经过一间小屋，他似乎隐约记得那里，并听到里面有声音在唱歌。这是索尔维格，唱着她仍在耐心等待的声音。他脸色苍白：“有人记得，有人忘记，有人挥霍，有人储蓄”。但没有回头路。他意识到，多年前，正是在这里，他的“帝国迷失了”。
The final act begins with Gynt sailing back to Norway, determined to settle quietly on a farm, but still he cannot resist dreaming of building it up until ‘it is like a castle’. The ship is wrecked, Gynt is rescued, and wanders up into the mountains. He is now plunged in deep reflection, but can find nothing in himself to hang on to. Suddenly he is passing a hut, which he vaguely seems to remember, and hears a voice singing within. It is Solveig, singing of how she is still patiently waiting. He goes pale: ‘there is one who remembered and one who forgot, one who squandered and one who saved’. But there is no turning back. He realises that it was here, all those years before, that his ‘empire was lost’.
他现在被他未实现的生活的幻影嘲笑：“我们是思想，你应该塑造我们”，“我们是歌曲，你应该唱我们”，“我们是行为，你应该表演我们”，“我们是从来没有流过的眼泪，否则我们可能已经融化了伤害你的冰矛。” 金特从远处听到他死去母亲的声音，“魔鬼欺骗了你……”。
He is now mocked by phantoms of his unfulfilled life: ‘we are thoughts, you should have formed us’, ‘we are songs, you should have sung us’, ‘we are deeds, you should have performed us’, ‘we are tears that were never shed, otherwise we might have melted the ice spears which wound you’. From far off Gynt hears the voice of his dead mother, ‘The Devil has deluded you...’.
然后纽扣成型者的奇怪身影进来了，他说他是被他的“主人”派来融化金特的。金特反驳说，他不会允许这样的事情发生，这将是他自我的终结，是“对我内心深处灵魂的侮辱”。纽扣成型工告诉他，他没有必要承受如此严重的压力——“到目前为止，你从来都不是你自己”。金特请求有机会找到证人来证明他是他自己。
Then the strange figure of the Button Moulder enters, who says that he has been sent by his ‘Master’ to melt Gynt down. Gynt retorts that he will allow no such thing, it would be the end of his selfhood, an ‘affront to my innermost soul’. The Button Moulder tells him that he had no need to take on so badly – ‘up to now you never have been yourself ‘. Gynt asks for the chance to find witnesses to prove that he has been himself.
他遇到的第一个人是山王，山王告诉他，多年前在山里的那一天，皮尔实际上已经成为了巨魔，而自己却浑然不觉。“我给你的座右铭——“你自己就足够了”——使你能够作为一个有内涵的人走过这个世界。” 皮尔开始惊恐地意识到，他一直以来都是一个巨魔。纽扣成型者回来了，要求他的证人，金特现在在绝望中拖延时间，问他是否可以首先定义“成为一个人的自我”的含义。回答是“做自己”，“意味着杀死自己——但这个答案对你来说可能是浪费”。然后，金特看到了魔鬼的噩梦般的景象，并出现了一种可怕的悔恨情绪：“可爱的地球啊，如果我无缘无故地践踏了你的草地，请不要生气……大自然是多么丰富，精神是多么卑鄙”。他看到一群去教堂的人唱着圣灵降临节赞美诗，他退缩了，想象自己一定会永远被诅咒。清晨，天色还很黑，他看到山腰的一间小屋里闪着一丝光亮。一个女人正在唱歌，她在去教堂的路上走出来：那是索尔维格，现在已经上了年纪，几乎失明了。再次见到佩尔，她充满了喜悦，但他现在完全绝望了，并告诉她，有一个谜语；除非她能独自回答这个问题，否则他注定要永远沉入“阴影之地”。她必须回答的谜语是“自从我们上次见面以来，皮尔去哪儿了？” 她微笑着回答，“哦，你的谜语很简单……他一直在我的信仰、我的希望和我的爱之中”。也就是说，他最真实的自己，一直都在她身边，而他却以一个根本不是他自己的虚假自我的身份生活在这个世界上。皮尔感叹道：“噢，最纯洁的女人”。他们幸福地拥抱在一起，太阳升起，世界充满光明。
The first person he runs into is the Mountain King, who tells him that, on that day in the mountains all those years before, Peer had in fact become a troll, without knowing it. ‘The motto I gave you – “to thyself be enough” – enabled you to go through the world as a man of some substance’. Peer begins to realise with horror that he has lived as a troll, all along. The Button Moulder returns, asking for his witnesses, and Gynt, now in desperation playing for time, asks him whether he can first define what it means ‘to be one’s Self’. ‘Being one’s Self’ comes the reply, ‘means slaying one’s self – but that answer’s probably wasted on you’. Gynt then has a nightmarish vision of the Devil, and emerges in a mood of horrified remorse: ‘Do not be angry, O lovely earth, if to no purpose I trampled on your grass... how lavish is Nature, how mean is the spirit’. He sees a group of churchgoers singing a Whitsuntide hymn and shrinks away, imagining that he must be damned forever. It is very early in the morning, the world is still dark, and he sees a light shining in a hut up the mountainside. A woman is singing, and she comes out on her way to church: it is Solveig, now aged and nearly blind. She is full of joy at meeting Peer again, but he is now in total despair and tells her that there is a riddle; unless she alone can answer it, he is doomed to go down forever ‘to the shadow land’. The riddle she must answer is ‘where has Peer been since last we met?’ She answers, smiling, ‘oh, your riddle is easy ... he has been in my faith, my hope and my love’. In other words, his true and inmost self had been with her all along, while he had lived in the world as a false self which was not himself at all. ‘Oh purest of women’ exclaims Peer. They joyfully embrace, and the sun comes up filling the world with light.
皮尔·金特最终从他较小的、以自我为中心的巨魔自我重生为更深层次的“真实自我”，以他忠实的索尔维格的爱为中心，这个漫长而曲折的故事是结束对主要模式的介绍性探索的一个恰当的点。底层的故事讲述，因为在某种程度上它使我们的旅程圆满。
The long, tortuous story of Peer Gynt’s eventual Rebirth from his lesser, egocentric troll-self into a deeper ‘true Self’, centred in the love of his faithful Solveig, is an apt point at which to end this introductory exploration of the main patterns underlying storytelling, because in a way it brings our journey full circle.
皮尔·金特和我们看过的所有其他类型的故事之间有明显的相似之处。因为它以英雄与一个自私化身的怪物的长期斗争为中心，所以它就像一个克服怪物的故事，除了一个明显的点，皮尔必须克服的唯一怪物在于他自己。
There are clear parallels between Peer Gynt and all the other types of story we have looked at. In that it centres on the hero’s prolonged struggle with a monstrous figure who is the personification of egotism, it is like an Overcoming the Monster story, except for the obvious point that the only monster Peer has to overcome lies in himself.
就像白手起家的故事一样，它是基于个人转变的长期过程。就像培尔·金特一样，白手起家的英雄一开始看起来没什么了不起：事实上，他常常在世人看来是可鄙的。然后，他瞥见了某种光荣而崇高的条件，这是他比世界上任何东西都渴望获得的，甚至似乎都在他的掌握之中：就像当皮尔·金特和他的“公主”在森林里定居时一样。但突然间，这种可能性的愿景被夺走了，就像金特在失去他的“最纯粹的宝藏”索尔维格时看到他的“皇宫”轰然倒塌一样。在经历了这场“核心危机”之后，白手起家故事中的主人公还需要经历更漫长的考验，才能最终获得他所渴望的自我实现感。在他里面；这以他与使他完整的“另一半”持久结合为标志。
Like a Rags to Riches story, it is based on a prolonged process of personal transformation. Like Peer Gynt, a Rags to Riches hero begins by seeming nothing very remarkable: indeed he often seems to the world contemptible. He then glimpses some glorious and elevated condition which he longs to attain more than anything in the world and which even seems to come within his grasp: as when Peer Gynt settles down in the forest with his ‘princess’. But suddenly this vision of possibility is snatched away, just as Gynt sees his ‘royal palace’ crashing to the ground when he loses his ‘purest treasure’ Solveig. After this ‘central crisis’ the hero of the Rags to Riches story then has to undergo a further long period of testing, before he is finally ready to achieve the sense of self-fulfilment he has longed for. After a last great ordeal he finally discovers the deeper self that has lain buried within him; and this is marked by his being brought together in lasting union with the ‘other half’ who makes him complete.
我们再次看到皮尔的冒险是如何由任务模式塑造的。从他与伟大的博伊格相遇的那一刻起，我们就看到他开始了漫长的寻找他的“真实自我”的难以捉摸的奖赏。就像任务英雄一样，他必须在目标边缘经历一系列最严峻的考验。他与索尔维格的最后重逢可能会让我们想起所有探索英雄中最著名的奥德修斯终于与一位在默默无闻中等待他归来的可爱女人、忠实的佩内洛普重聚的那一刻。就像奥德修斯一样，皮尔已经“回家”了。
Again we see how Peer’s adventures are shaped by the pattern of a Quest. From the moment of his encounter with the Great Boyg, we see him embarking on a long search for that elusive prize of his ‘true self’. Like the Quest hero he has to go through the worst series of ordeals on the edge of his goal. And his final reunion with Solveig may remind us of the moment when the most famous of all Quest heroes, Odysseus, is at last reunited with the loving woman who for so long has waited in obscurity for his return, the faithful Penelope. Like Odysseus, Peer has ‘come home’.
但仍然缺少那个核心的重要元素，直到到达《远航与回归》的情节时，我们才在故事中充分遇到这个元素。正是在这里，我们第一次开始看到情节重点的根本转变，这使得英雄本人成为故事中主要的黑暗人物。它出现在《远航与归来》故事的深刻版本中，例如《古水手之歌》和《金驴》我们首先看到的是一个英雄，他本质上以自我为中心，意识有限，鲁莽地卷入一系列冒险，最终威胁到他的毁灭。只有当死亡直面他时，他才会经历内心的转变，将他从有限的、以自我为中心的意识状态中解放出来，从将他困在其中的奇怪的威胁世界中解放出来。
But still there is missing that centrally important element which we did not come across fully in stories until we reached the plot of Voyage and Return. It was here we first began to see that fundamental shift in the emphasis of the plot which makes the hero himself the chief dark figure of the story. It was in the profounder versions of the Voyage and Return story such as the Rime of the Ancient Mariner and The Golden Ass that we first saw a hero, essentially self-centred and limited in his awareness, being recklessly drawn into a series of adventures which ultimately threaten him with destruction. Only as death stares him in the face does he go through that change of heart which liberates him from his limited, egocentric state of awareness and from the strange threatening world in which it has trapped him.
皮尔·金特肯定为我们提供的不仅仅是这样一个航行和返回故事的回声。英雄一开始处于一种自我意识有限的状态，这导致他鲁莽地陷入巨魔的“异常世界”。正如他所想，他从这里开始了一次“惊心动魄的逃脱”，在紧要关头，避免自己变成巨魔。事实上，正如他后来才知道的那样，巨魔的黑魔法已经发挥了作用；结果，他必须进行第二次更长的航行和返回，这从他抛弃索尔维格前往遥远的土地开始。在这里，在这个遥远的“另一个世界”，他自私、冷酷地获得巨额财富的最初梦想阶段首先变成了挫败感，然后变成了他参观疯人院的噩梦。但即使是第二次“惊心动魄的逃亡”，让他回到挪威，也只是让他陷入了与巴顿模塑者和魔鬼对抗的最后噩梦，这迫使他最终认识到自己已经成为一个多么可怕的怪物。他认为他的身体不再有任何未被腐蚀的部分，他现在只不过是他那可怕的巨魔自我，一个皱巴巴、瘪了的自我中心的气球，除了死亡之外别无他法。直到现在，与索尔维格的重逢才终于让他明白，自己一直以来都有另一个完全不同的部分，当她仍然处于遥远的默默无闻时，他与她认同。他终于达到了更深层次的意识，当他的“另一半”从长期的日食中显现出来时，这表明他发现了真正的自我。
Peer Gynt certainly provides us with more than just echoes of such a Voyage and Return story. The hero begins in a state of limited self-awareness, which leads him to be plunged recklessly into the ‘abnormal world’ of the trolls. From here he makes a ‘thrilling escape’, in the nick of time, as he thinks, from being turned into a troll himself. In fact, as he only learns later, the trolls’ dark magic has already done its work; with the result that he has to make the second, much longer Voyage and Return which begins when he abandons Solveig for far-off lands. Here, in this distant ‘other world’, the initial Dream Stage of his selfish, hard-hearted rise to great wealth turns first to frustration, then to the nightmare of his visit to the lunatic asylum. But even the second ‘thrilling escape’ of the shipwreck which lands him back in Norway only leads him to the final nightmare of his confrontations with the Button Moulder and the Devil, which force him at last to recognise what a monster he has become. He thinks there is no longer any part of him which remains uncorrupted, that he is now nothing but his hideous troll-self, a wrinkled and deflated balloon of egotism, deserving nothing but death. Only now does the reunion with Solveig finally teach him that all along there has been another quite different part of himself, identified with her as she remained in remote obscurity. He has come at last to that much deeper level of awareness which, as his ‘other half’ emerges from her long eclipse, shows him discovering his true self.
我们看到的下一个情节，即喜剧，更加突出了英雄，他成为了自己故事中主要的“黑暗”人物。必须让他“认识”隐藏的事物，才能获得幸福的结局。从这个角度来看，皮尔·金特的故事是完全熟悉的。就像在许多喜剧中一样，我们看到男女主角在开场场景中相遇并坠入爱河；但随后却被一场可怕的误解撕裂，这种误解植根于英雄的自私自利。女主角在他的自私投下的阴影中变得黯淡无光。混乱继续恶化，直到僵局最终以唯一的方式得到解决：通过“认识”，让英雄看到他错误的本质和女英雄真正的、卓越的价值，从而使他认识到自己。
The next plot we came to, Comedy, gave even greater prominence to the hero who becomes the chief ‘dark’ figure of his own story; and who must be brought to ‘recognition’ of things hidden before he can achieve the happy ending. In this light, the story of Peer Gynt is entirely familiar. As in so many comedies, we see a hero and heroine who meet in the opening scenes and fall in love; but are then torn apart by a terrible misunderstanding, rooted in the hero’s egotism. The heroine passes into eclipse, obscured in the shadows cast by his selfishness. Confusion continues to worsen until the impasse is finally resolved in the only way it can be: by the ‘recognition’ which brings the hero to see the nature of his error and the true, superior value of the heroine, thus bringing him to himself.
当然，悲剧的本质在于，它比任何其他类型的情节都更加鲜明地关注英雄转变为故事中主要黑暗人物的过程。事实上，正如我们所看到的，悲剧可以为我们提供一种战胜怪物故事的镜像，从变成怪物的英雄的角度来看。当然是《皮尔·金特》的开场场景给我们呈现了一个类似于悲剧开头的情况。英雄显然是一个“分裂的自我”，部分被他的“好天使”索尔维格吸引，部分被巨魔妖精和暴君山王吸引。皮尔的“黑暗”面获胜，他抛弃了自己的“善良天使”，变成了一个冷酷无情、自私自利的怪物。我们只能从他登上巨富和权势的事实来推断他漫长的梦想阶段的悲惨历程。事实上，在他的人生故事经历了一段漫长的间隙之后，我们在他进入挫折阶段时再次拾起它，因为他开始在以自我为中心的存在中感到不足和无意义。他越来越疯狂地挣扎着去征服新的领域，扮演新的角色：所有这一切都以噩梦结束，
The essence of Tragedy, of course, is that it focuses on the process whereby the hero is transformed into the chief dark figure of the story more starkly than any other kind of plot. Indeed, as we saw, Tragedy can provide us with a kind of mirror image of an Overcoming the Monster story, seen from the point of view of the hero who has been transformed into the monster. Certainly the opening scenes of Peer Gynt present us with a situation similar to the opening of a tragedy. The hero is clearly a ‘divided self’, part drawn upwards by his ‘good angel’ Solveig, part drawn downwards by the troll Temptress and the tyrant Mountain King. The ‘dark’ side of Peer wins, he abandons his ‘good angel’ and is transformed into a monster of hard-hearted egotism. We only infer the long Dream Stage of his tragic course from the fact that he has risen to a position of enormous wealth and power. In fact, after a long gap in the story of his life, we pick it up again at the point where he is entering the Frustration Stage, as he begins to feel a sense of inadequacy and meaninglessness in his self-centred existence. He thrashes around more and more wildly for new realms to conquer, new roles to play: all of which ends in nightmare, despair and the threat of imminent destruction.
但是，因为他的故事不是悲剧，也因为他的“好天使”不是许多悲剧中被拒绝的“天真的年轻女孩”，而是一个坚强、成熟和聪明的女人，金特被启用了。在最后一刻重新发现他长期埋藏在自负的可怕外壳下的“光明的自我”。他可以在关键时刻从自己的虚假中心转移到真正的中心。就像拉斯科尔尼科夫被索尼娅的爱所救赎，或者凯被格尔达所救赎，或者野兽被美所救赎一样，他已经获得了解放，成为了自己。当他和索尔维格拥抱时，他终于与失踪的“另一半”结合在一起，使他变得完整。
But then, because his story is not Tragedy, and because his ‘good angel’ is not one of the inadequate little rejected ‘Innocent Young Girls’ of so many tragedies but a strong, mature and wise woman in her own right, Gynt is enabled at the last minute to rediscover his ‘light self’ buried for so long beneath the outward monstrous shell of his egotism. He can move in the nick of time from the false centre of himself to his true centre. Like Raskolnikov redeemed by the love of Sonia, or Kay by Gerda, or the Beast by Beauty, he has been liberated to become himself. As he and Solveig embrace he is at last united with his missing ‘other half’ to make him whole.
到目前为止，我们一直在尽可能地在不同的隔间中研究故事背后的主要情节。确实，在某种程度上，大多数故事主要是由一种类型的情节塑造的，而不是另一种类型的。每种类型的故事都有自己的特殊目的并传达自己的信息。但现在是时候进入更深层次了，我们不再关注每种基本情节形式的特殊性，而是关注它们的共同点。在这里，我们看到他们如何从不同的角度看待同一部伟大的基本戏剧。
Up to now we have been looking at the main plots underlying stories as much as possible in separate compartments. It is certainly true that, on one level, most stories are primarily shaped by one type of plot more than another; that each type of story serves its own special purpose and carries its own message. But the time has come to move on to a rather deeper level, where we look not so much at the peculiarities of each of the basic plot forms but at what they have in common. Here we see how they are all looking from different points of perspective at the same great basic drama.
第12章
黑暗力量：从阴影到光明
Chapter 12
The Dark Power: From Shadow into Light
'好的结局是幸福的，坏的结局是不幸的。这就是小说的意义。
‘The good ended happily and the bad unhappily. That is what fiction means.’
奥斯卡·王尔德，认真的重要性
Oscar Wilde, The Importance of Being Earnest
到目前为止，在本书中我们实际上做了两件事。
So far in this book we have really been doing two things.
在某种程度上，我们一直在研究数百个不同的故事，包括许多世界上最著名的故事，看到这些故事在很大程度上是围绕七个基本情节中的一个或另一个而形成的。我们一直在探索的是当人类想象力想象出一个故事时，其内容自然成型的七种主要方式。当然，这并不意味着世界上的每个故事都完全属于这些类别之一。在这个阶段，很容易指出无数的个人故事，这些故事在某种程度上与这些情节并不完全对应。事实上，本书稍后将用整整一个部分来探讨这些故事以及它们为何与基本模式不同。甚至还有其他一些，
On one level we have been looking at hundreds of different stories, including many of the best-known tales in the world, seeing the remarkable extent to which these are formed round one or another of seven basic plots. What we have been exploring are seven of the central ways in which, when the human imagination conjures up a story, its contents naturally take shape. This does not mean, of course, that every story in the world falls neatly and exclusively into one of these categories. At this stage it would be easy to point to countless individual stories which in one way or another do not correspond precisely to any of these plots. Indeed a whole section of this book will later be devoted to looking at such stories and why they vary from the basic patterns. There are even a handful of other, more specialised plots – such as that behind ‘creation myths’ explaining how the world came into being, or the Mystery plot which underlies detective stories – which we have not yet touched on at all.
然而，在另一个层面上，我们也通过过去的十一章构建了一幅比故事类型目录更深刻、更普遍的图景。我们已经逐渐暴露出贯穿各种故事的人物、情境和图像的隐藏景观，无论哪种类型的情节可能在更表面的层面上引导我们对故事的兴趣。我们看到诸如“惊心动魄的死里逃生”、黑暗人物的推翻或救赎、男女主角最终的结合或分离等主题在一个又一个的情节中一次又一次地出现。无论我们继续探索故事多远，我们都会发现它们总是以这种或那种方式回归到这些相同的基本模式和图像。简而言之，我们所发现的 是故事制作方式、故事运作方式以及故事内容的核心。从这个意义上说，研究七个中心情节的真正价值在于，它们提供了对构成故事的所有基本元素的全面介绍。
On another level, however, we have also through these past eleven chapters been building up a picture of something much deeper and more general than just a catalogue of story-types. We have been gradually laying bare a hidden landscape of figures, situations and images which run through stories of all kinds, regardless of which type of plot may on a more superficial level be directing our interest in the story. We have seen such motifs as ‘the thrilling escape from death’, the overthrow or redemption of the dark figure, the final union or separation of hero and heroine, appearing again and again, in one plot after another. And however far we continue our exploration of stories we shall find that they always return in one way or another to these same basic patterns and images. What we have been uncovering, in short, is the essential core of the way stories are made, how they work and what they are about. In this sense the real value of examining the seven central plots is that, between them, they provide a comprehensive introduction to all the fundamental elements from which a story can be made up.
这一点的重要性怎么强调都不为过。因为它的意思是，每当我们任何人试图在自己的想象中创造一个故事时，我们都会发现这些是故事形成的基本人物和情境。我们不可以远离他们，因为他们是原型。它们是人类所有讲故事冲动所围绕的基本图像。其原因是这些潜在的模式和图像以某种方式不知不觉地印在我们的脑海中，因此我们无法以任何其他方式构思故事。
The significance of this can hardly be exaggerated. For what it means is that whenever any of us tries to create a story in our own imagination, we will find that these are the basic figures and situations around which it takes shape. We cannot get away from them because they are archetypes. They are the elemental images around which the whole of the storytelling impulse in mankind is centred. And the reason for this is that these underlying patterns and images are somehow imprinted unconsciously in our minds, so that we cannot conceive stories in any other way.
这就是为什么当我们在幼儿时期第一次听到故事时，我们本能地认识到它们的内容。听故事的小孩子可能会遇到各种在现实世界中从未见过或从未存在过的事物的形象：嗜血的巨人；会说话的动物；龙喷火。但孩子可以立即接受这些神话人物并与之产生联系，因为故事所用的象征性语言符合一种本能的反应模式，而这种模式已经被编程到孩子自己的无意识中。
This is why, when we are first introduced to stories in early childhood, we instinctively recognise what they are on about. The small child being told a story may be confronted with the images of all sorts of things which it has never seen in the real world, or which have never existed: bloodthirsty giants; animals which talk; dragons breathing fire. But the child can immediately accept and relate to such mythical beings, because the symbolic language in which stories are dressed up meets with an instinctual pattern of response which is already programmed into the child’s own unconscious.
我们几乎不知道这个神奇的过程在神经学方面是如何运作的。我们无法从物理上解释我们如何能够在“心灵之眼”中想象出这些图像。我们甚至无法精确定位这种极其复杂的活动发生在大脑的哪些部分。但我们可以感知到的是，在这些图像呈现给我们的方式中，某些模式是如何不断重复出现的。它们确实以这种方式重复出现，这一事实意味着，在我们的意识水平之下，人类心灵中存在某种塑造机制，它不仅将图像组合在一起形成这些模式，而且以一种显示它们的方式进行。按照完全一致的规则展开。
We have virtually no idea how this miraculous process works in neurological terms. We cannot explain physically how it is that we are able to conjure up these images in our ‘mind’s eye’. We cannot even locate precisely in which parts of our brain this hugely complex activity takes place. But what we can perceive is how, in the way these images present themselves to us, certain patterns persistently recur. The very fact that they do recur in this way means that, below the level of our conscious awareness, there is some shaping mechanism in the human psyche which not only assembles the images together into these patterns, but does so in a way which shows them unfolding according to entirely consistent rules. The only way we can uncover why evolution should have developed in us this capacity to imagine stories is to subject those patterns to systematic analysis: to decipher just what is the meaning of the symbolic language they embody, and what this can tell us about the real underlying purpose storytelling serves in our lives.
这就是我们在探索情节顺序时开始做的事情。在这样做的过程中，我们看到了我们对想象故事世界的需求的核心关注点是如何清晰地呈现在我们的眼前的。
This is what we have begun to do in exploring the sequence of plots. And in doing so, we see how the central preoccupation of our need to conjure up the imaginary world of stories comes clearly into view.
通用情节
The universal plot
通过观察基本情节的隐藏结构，我们认识到的最重要的事情是它们在多大程度上都围绕着同一个基本冲突。这是人性中的那个组成部分所带来的核心问题，我们在各种故事中都看到它被象征性地表现为“黑暗力量”。要探索讲故事的根本目的，没有比观察孩子在生命早期接触故事时所发生的情况更好的起点了。如果我们仔细观察孩子首先能够本能地联想到的故事类型，我们就会发现其中有多少故事往往是围绕着非常相似的模式形成的。
The most important thing we recognise from looking at the hidden structures of the basic plots is the extent to which they all revolve round the same fundamental conflict. This is the central problem posed by that component in human nature which we have seen symbolically represented in stories of all kinds as the ‘dark power’. There is no better starting point from which to explore the underlying purpose of storytelling than to observe what is happening when a child is introduced to stories early in its life. If we watch carefully the types of story to which a child can first instinctively relate, we see how many of these tend to take shape round a remarkably similar pattern.
以最简单的形式，一些早期的童话故事，如《彼得兔》、《小红帽》或《金发姑娘和三只熊》，向我们展示了一个小英雄或故事开始的女主人公和母亲一起住在家里。然后，他们进入了神秘的外部世界——麦格雷戈先生的花园，一片大森林——在那里他们遇到了一个可怕且具有威胁性的人物（在金发姑娘的例子中，三个人扮演一个角色）。这种威胁无情地逼近，直到他们似乎像在噩梦中一样被困，面临死亡。但随后，在故事的高潮，出现了“惊心动魄的逃亡”，他们可以安全地跑回家，回到母亲身边。
In its simplest form, some of these early nursery tales, such as Peter Rabbit, Little Red Riding Hood or Goldilocks and the Three Bears, show us a little hero or heroine who begins the story living at home with mother. They then go out into the mysterious outside world – Mr McGregor’s garden, a great forest – where they encounter a terrifying and threatening figure (in the case of Goldilocks, three acting as one). This threat comes inexorably closer until it seems that, as in a nightmare, they are trapped, facing death. But then, at the story’s climax, comes the ‘thrilling escape’, when they can run safely home to mother.
所有这些故事的目的都是为了唤醒孩子的思想，让他们认识到同一个基本信息。当它被介绍给每个故事的中心人物时，它看到并认同一个像自己一样的孩子，这个孩子开始被安全的家庭包围，与一位慈爱、保护性的母亲生活在一起。然后，它看到这个小英雄或女英雄独自冒险进入伟大的世界，超越家庭的保护环境，在那里他们遇到了一个可怕的存在，如此敌对以至于意味着死亡。以象征性的方式，倾听的孩子被引入这样一个想法：在他所进入的这个陌生的新世界的某个地方，存在着一种神秘而致命的黑暗力量，比他在现实生活中所遇到的任何东西都要可怕得多。但最终，故事传达了令人安心的信息：逃离这个可怕的敌人是可能的。
What all these stories are doing is to awaken the child’s mind to the same basic message. As it is introduced to the central figure of each story, it sees and identifies with a child like itself, who begins surrounded by the security of home, living with a loving, protective mother. It then sees this little hero or heroine venturing out alone into the great world, beyond the protective setting of home, where they encounter a terrifying presence, so hostile that it spells death. In symbolic fashion, the listening child is being introduced to the idea that, somewhere in this unfamiliar new world it has come into, there is a mysterious and deadly dark power, far more frightening than anything it has ever outwardly encountered in real life. But in the end, the reassuring message of the story runs, it is possible to escape from this fearsome enemy. With a mighty sense of relief, the child identifying with the story can thus imagine returning to the safest place it knows, back home with mother.
这是这个故事最简单的版本，我们将它与旨在向幼儿讲述的故事联系起来并非偶然。但我们随后在《杰克与魔豆》或《汉赛尔与格蕾特》等故事中看到了这种模式的发展。孩子再次被介绍给在家中依赖生活的英雄或女英雄。他们再次冒险进入神秘的外部世界，在那里他们陷入了一个可怕的人物——巨人、女巫的阴影之下。故事再次进入高潮，他们似乎即将被杀。但孩子现在看到的重要事情是，战胜黑暗力量取决于男女主角自己。他们实际上必须通过自己的努力杀死巨人或女巫。消息称，他们这样做的回报不仅是逃脱死亡，而且还赢得了神话般的宝藏。
Such is the simplest version of the story, and it is no accident that we associate it with tales intended to be told to very young children. But we then see a development of the pattern, in stories such as Jack and the Beanstalk or Hansel and Gretel. Again the child is introduced to a hero or heroine living dependently at home. Again they venture out into the mysterious outside world, where they fall under the shadow of a terrifying figure, the giant, the witch. Again the story builds to a climax, where it seems they are about to be killed. But the significant thing the child now sees is that it is up to the hero or heroine themselves to overcome the dark power. They must actually slay the giant or witch by their own efforts. And their reward in doing so, the message runs, is not only escape from death, but that they win a fabulous treasure.
然而，即使是现在，因为这些仍然只是为小孩子准备的故事，所以故事的男女主人公最终仍然回到了熟悉的、安全的家。只有在展开模式的第三步中，故事才为总体信息添加了更重要的成分。在《粗暴的三只比利山羊》或《三只小猪》等故事中，我们再次从与母亲一起生活在家里的小英雄开始：在每个例子中，都有三个弟弟。长大后，英雄们再次进入了广阔的世界，在那里他们遇到了一个可怕的黑暗人物：一个守卫桥梁的可怕巨魔，一只大灰狼。再次，凭借勇气和聪明才智，他们自己最终成功摧毁了这个怪物（尽管在小猪的例子中，有两只被吃掉了）。但我们不再看到故事结尾时胜利的英雄必须撤退回家。现在重要的是他们可以前进而不是后退。过了桥，山羊们就可以在山腰的甜草草地上开始新的生活了。第三只小猪成功地经受住了考验，在他的砖砌房子里从此幸福地生活着。狼的袭击是因为与他的兄弟不同，他用坚固、安全的材料建造了这座建筑。由于战胜了黑暗势力，他们现在已经在外面的世界为自己建立了一个安全的新家，在那里他们可以自由地过着自己独立的生活。
Even now, however, because these are still only tales intended for young children, their heroes and heroines still return at the end to the familiar security of home. Only with a third step in the unfolding pattern does the story add a further important ingredient to the general message. In tales such as The Three Billy Goats Gruff or The Three Little Pigs, we again begin with little heroes living at home with mother: in each of these examples, three young brothers. Again, as they grow up, the heroes go out into the great world, where they encounter a terrifying dark figure: a fearsome troll guarding the bridge, a big bad wolf. Again, through courage and ingenuity, they themselves eventually manage to destroy this monstrous figure (even though, in the case of the little pigs, two are eaten). But we no longer see the victorious heroes having to retreat back home at the end of the story. The important thing now is that they can move forward rather than back. Having crossed the bridge, the goats can begin their new life feasting on the meadow of sweet grass up on the mountainside. The third little pig can live happily ever after in his home made of bricks, which has successfully with-stood the wolf’s assaults because, unlike his brothers, he has built it soundly, out of strong, secure materials. Thanks to their victory over the dark power, they have now established a secure new home for themselves in the outside world, where they are free to live their own independent life.
最后，我们来看看所有那些展示这种模式发展到最充分状态的故事。在《阿拉丁》或《白雪公主》等故事中，我们再次看到年轻的男女主人公走进这个世界，并被卷入与同样黑暗力量的斗争中，这种斗争贯穿了故事的大部分内容。他们终于再次取得胜利。但他们的最终回报现在采取了更加具体的形式，因为我们看到他们与美丽的公主或英俊的王子充满爱意地结合在一起，并以某种方式成功地统治了一个王国。
Finally we come to all those stories which show this pattern unfolding to its fullest state of development. In stories like Aladdin or Snow White, we again see the young hero or heroine going out into the world and being drawn into a struggle with the same dark power, which lasts through most of the story. Again they finally emerge triumphant. But their ultimate reward now takes a much more specific form, as we see them brought together in loving union with a beautiful Princess or handsome Prince, and in some way succeeding to rule over a kingdom.
因此，我们看到他们已经完成了也许是人类生活中最基本的转变。他们从童年时期就开始处于安全但依赖的状态。他们走进了广阔的世界，面对着各种各样的磨难和冒险。但他们最终建立了自己的一个全新的安全基地，与一个充满爱的伙伴联合起来，管理着自己的小王国。从童年到成熟的转变已经完成。而实现这一目标的关键，就是在与黑暗势力的一系列战斗中取得胜利。
We thus see them having completed perhaps the most fundamental transition in any human life. They have begun in the secure but dependent state of childhood. They have gone out into the great world, to face all sorts of ordeals and adventures. But they end up having established an entirely new secure base of their own, united to a loving partner and presiding over their own little kingdom. The transition from childhood to maturity is complete. And the key to reaching this goal has been to emerge victorious from a series of battles with the dark power.
事实上，我们也从这些故事中认识到，构成亚里士多德所说的故事的开头、中间和结尾的基本元素，以更复杂的外在形式表达出来，仍然是我们讲故事的经验的核心。生活。
Indeed what we also come to recognise from such tales are those essential elements making up what Aristotle identified as the beginning, middle and ending of a story which, expressed in more sophisticated outward forms, remain central to our experience of storytelling for the rest of our lives.
开始
Beginning
几乎任何类型的故事的“开头”都会向我们展示一个在某种程度上尚未发展、沮丧或不完整的英雄或女英雄。他们不快乐、不成熟或未实现的状态的建立建立了需要解决的紧张关系，这提供了故事的本质。
The ‘beginning’ of almost any type of story shows us a hero or heroine who is in some way undeveloped, frustrated or incomplete. This establishing of their unhappy, immature or unfulfilled state sets up the tension needing to be resolved which provides the essence of the story.
中间
Middle
故事的“中间部分”表明他们迟早会陷入黑暗力量的阴影下，与黑暗力量的冲突构成了故事的主要行动。在我们早年接触到的故事类型中，这种威胁性的存在总是被人格化为中心人物之外的存在，尽管后来我们接触到的故事类型中，同样的黑暗品质也表现在英雄或女主人公身上。在故事的大部分内容中，我们看到它的小世界分为“上层”领域和“下层”领域，其中黑暗力量占主导地位，而光明力量则留在阴影中。
The ‘middle’ of the story shows them sooner or later falling under the shadow of the dark power, the conflict with which constitutes the story’s main action. In the types of story we come to early in life this threatening presence is invariably personified as outside the central figure, although later we come to the type of story in which those same dark qualities are shown as lying in the hero or heroine themselves. Through most of the story we see its little world divided into an ‘upper’ realm, where the dark power holds sway, and an ‘inferior’ realm, where the forces of light remain in the shadows.
结尾
Ending
故事的“结局”提供了答案。行动最终达到高潮，当制造威胁和混乱的力量上升到对每个参与者的压力达到最高点时，这为“逆转”或“解开”铺平了道路，即黑暗力量被推翻的那一刻。
The ‘end’ of the story provides its resolution. The action eventually builds to a climax, when the forces making for threat and confusion rise to their highest point of pressure on everyone involved, and this paves the way for the ‘reversal’ or ‘unknotting’, the moment when the dark power is overthrown.
故事结局的性质完全取决于英雄或女英雄如何与黑暗力量结盟。如果中心人物仍然或最终反对黑暗势力，我们就会看到，在这最后的解放行动中，我们可以赢得无限价值的奖品：从黑暗中赢得的宝藏；将被俘虏的“公主”或“王子”从其魔掌中解放出来；一个从阴影中被救赎的社区。我们看到男主角或女主角最终获得了满足和完整，这在整个故事的大部分内容中似乎是不可想象的。他们已经实现了生活的一些中心目标。
The nature of the story’s ending then depends entirely on how its hero or heroine have aligned themselves to the dark power. If the central figure has remained or ended up in opposition to the dark power, we see that, in this final act of liberation, there is a prize of infinite value to be won: a treasure to be won from the darkness; a captive ‘Princess’ or ‘Prince’ to be freed from its clutches; a community to be redeemed from its shadows. We see that the hero or heroine have ended up fulfilled and complete, in a way which through most of the story would have seemed unthinkable. They have reached some central goal to their lives.
另一方面，如果男女主人公已经不可挽回地认同黑暗力量，那么故事将以他们的毁灭而告终。但即便如此，这也是按照与幸福结局相同的规则来实现的。悲剧的中心人物已经成为故事中黑暗的主要来源，只有当他们被死亡带走时，光明才能再次从阴影中显现出来。对于所有被迫生活在阴影中的人来说，这本身就可以以熟悉的解放基调结束故事。更广泛的社区恢复了完整性。就像故事的结局是美好的一样，这是人生的胜利。
If, on the other hand, the hero or heroine have become irrevocably identified with the dark power, the story will end in their destruction. But even this comes about according to the same rules which govern stories with a happy ending. So much have the central figures of Tragedy become the chief source of darkness in their story that only when they are removed by death can the light again emerge from the shadows. For all those forced to live in that shadow, this in itself can end the story on the familiar note of liberation. The wider community is restored to wholeness. Just as in a story which comes to a happy ending, it is a victory for life.
因此，在任何完全解决的故事中，基本模式都保持不变。最终，黑暗被战胜，光明赢得了胜利。事实上，每个基本情节的最终区别很简单，就是每个情节都从不同的角度看待这个共同的主题。每一个都强调了隐藏在它们背后的普遍情节的一个特定方面。
Thus in any story which is completely resolved, the basic pattern remains the same. In the end, darkness is overcome and light wins the day. In fact what ultimately distinguishes each of the basic plots is simply that each looks at this common theme from a different angle. Each lays emphasis on a particular aspect of that universal plot which lies behind them all.
自我实现之路
The road to self-realisation
从某种意义上说，《战胜怪物》的故事是所有情节中最基本的，因为它将注意力集中在与黑暗力量的冲突上，而几乎排除了其他一切。“怪物”这个词来自拉丁文monstrum，意思是“展示的东西”，如我们所说的“演示”。它也开始意味着“自然的怪胎”，就像以前在集市、马戏团或动物园中展示的所有异常、畸形或不熟悉的人类或动物一样。无论它的外在形式如何，正如我们所见，故事中的怪物永远不可能是一个完整的、完美的人。从定义上来说，它是人类不完美的表现：而且在任何方面都只不过是完全以自我为中心，准备为了自己的利益而牺牲世界上的任何人和一切。
The Overcoming the Monster story is in a sense the most basic of all the plots because it focuses attention on this conflict with the dark power to the exclusion of almost everything else. The word ‘monster’ comes from the Latin monstrum, meaning ‘something put on show’, as in our word ‘demonstration’. It also came to mean ‘a freak of nature’, as in all those abnormal, deformed or just unfamiliar human beings or animals which in former times were put on show in fairgrounds, circuses or zoos. Whatever outward form it takes, the one thing the monster in stories can never be, as we have seen, is a whole, perfect human being. It is, by definition, a representation of human imperfection: and in no respect more than the way it is wholly egocentric, prepared to sacrifice anyone and everything else in the world to its own interests.
简而言之，怪物的本质在于，它披着象征性的外衣，是人类自我中心能力的极大放大的化身，这种能力总是表现得无比强大，对他人无情，但在某些关键方面也是盲目的，缺乏理解。由于这个怪物在故事中总是被表现为对整个社区构成致命威胁，因此它被描述为人类的死敌。一旦我们意识到怪物的存在，我们就知道故事能够得到令人满意的解决的唯一方法就是必须摧毁它。这就是为什么当英雄出现时，我们永远不会怀疑他为什么会出现，这一点是如此重要。与怪物完全对立，对怪物消极的一切事物采取积极的态度。他不以自我为中心。他始终为更广泛的社区而战。因此，他被视为代表生命对抗死亡的力量。
The essence of the monster, in short, is that, dressed up in symbolic form, it is a hugely magnified personification of the human capacity for egotism, which is invariably shown as immensely powerful, unfeeling for others but also in some crucial respect blind, lacking in understanding. Since this monster is invariably shown in a story as posing a deadly threat to a whole community of people, it is presented as a mortal enemy to the human race. As soon as we are made aware of the monster’s existence, we know the only way the story can reach a satisfactory resolution is that it must be destroyed. That is why it is so important that, when the hero emerges, we are never left in any doubt as to why he is set in complete opposition to the monster, the positive to everything in which the monster is negative. He is not egocentric. He is always battling on behalf of the wider community. He is thus shown as representing the forces of life against death.
但与此同时，至关重要的是，随着故事情节的展开，我们应该看到英雄本人的地位不断提高。当他第一次出现时，他竟然能够对抗怪物的可怕力量，这似乎是不可想象的。当他最终面对对手，甚至落入对手的魔掌时，这一点只会得到加强。然而，到最后，当英雄弄清楚如何衡量他的对手时，我们开始以新的视角看待他。就连詹姆斯·邦德也总是从看似无助的失败者地位中站出来，在故事进行到一半时跌跌撞撞地落入恶棍的手中，直到他最终能够通过某种超人的壮举扭转局势。这种转变在故事的更深层次版本中更加明显，以英雄一生的较长时期为背景，其中，随着情节的展开，让他逐渐成为一个更加高超的人物。尽管我们在故事的早期就看到了年轻的大卫，这个被忽视的小牧童，赢得了对歌利亚的伟大胜利，但我们随后看到这只是转变过程的前奏，最终使他有资格成为他的人民的天生领袖，适合成为一名伟大的国王。我们看到珀尔修斯逐渐成熟，从一个年轻的、未经考验的男孩，希望捍卫母亲的荣誉，对抗暴君阿克里西乌斯，成为强大的英雄，他杀死了美杜莎，然后从海怪的魔掌中拯救了公主，取得了最后的胜利。正是这种个人转变使他有资格像大卫一样继承王位。尽管我们在故事的早期就看到了年轻的大卫，这个被忽视的小牧童，赢得了对歌利亚的伟大胜利，但我们随后看到这只是转变过程的前奏，最终使他有资格成为他的人民的天生领袖，适合成为一名伟大的国王。我们看到珀尔修斯逐渐成熟，从一个年轻的、未经考验的男孩，希望捍卫母亲的荣誉，对抗暴君阿克里西乌斯，成为强大的英雄，他杀死了美杜莎，然后从海怪的魔掌中拯救了公主，取得了最后的胜利。正是这种个人转变使他有资格像大卫一样继承王位。尽管我们在故事的早期就看到了年轻的大卫，这个被忽视的小牧童，赢得了对歌利亚的伟大胜利，但我们随后看到这只是转变过程的前奏，最终使他有资格成为他的人民的天生领袖，适合成为一名伟大的国王。我们看到珀尔修斯逐渐成熟，从一个年轻的、未经考验的男孩，希望捍卫母亲的荣誉，对抗暴君阿克里西乌斯，成为强大的英雄，他杀死了美杜莎，然后从海怪的魔掌中拯救了公主，取得了最后的胜利。正是这种个人转变使他有资格像大卫一样继承王位。然后我们看到这只是转变过程的前奏，最终使他有资格成为他的人民的天然领袖，适合成为一位伟大的国王。我们看到珀尔修斯逐渐成熟，从一个年轻的、未经考验的男孩，希望捍卫母亲的荣誉，对抗暴君阿克里西乌斯，成为强大的英雄，他杀死了美杜莎，然后从海怪的魔掌中拯救了公主，取得了最后的胜利。正是这种个人转变使他有资格像大卫一样继承王位。然后我们看到这只是转变过程的前奏，最终使他有资格成为他的人民的天然领袖，适合成为一位伟大的国王。我们看到珀尔修斯逐渐成熟，从一个年轻的、未经考验的男孩，希望捍卫母亲的荣誉，对抗暴君阿克里西乌斯，成为强大的英雄，他杀死了美杜莎，然后从海怪的魔掌中拯救了公主，取得了最后的胜利。正是这种个人转变使他有资格像大卫一样继承王位。然后，他将公主从海怪的手中救了出来，取得了最后的胜利。正是这种个人转变使他有资格像大卫一样继承王位。然后，他将公主从海怪的手中救了出来，取得了最后的胜利。正是这种个人转变使他有资格像大卫一样继承王位。
Yet at the same time it is crucial that, as the action of the story unfolds, we should see the hero himself growing in stature. When he first appears it might seem unthinkable that he should be able to confront the monster’s awesome power. This is only reinforced when he finally confronts his opponent, even falling into its clutches. Towards the end, however, when the hero has worked out how to get the measure of his antagonist, we begin to see him in a new commanding light. Even James Bond invariably rises from his seemingly helpless position as the underdog who stumbles halfway through the story into the villain’s clutches, to the moment where he is finally able by some superhuman feat to turn the tables. This transformation is still more obvious in those deeper versions of the story, set over a longer period of the hero’s life, which, as the action unfolds, show him gradually emerging as an ever more masterful figure. Although we see young David, the disregarded little shepherd boy, winning the great victory over Goliath quite early in his story, we then see how this was merely a prelude to the transforming process which eventually qualifies him as the natural leader of his people, fit to succeed as a great king. We see Perseus gradually maturing from the young, untried boy who wishes to defend his mother’s honour against the tyrant Acrisius into the mighty hero who, having slain the Medusa, then achieves his final victory by saving the Princess from the clutches of the sea-monster. It is this personal transformation which has qualified him, like David, to succeed to the kingdom.
从这个意义上说，《战胜怪物》的故事讲述的是一个走向成熟的过程。这一点在《白手起家》的情节中表现得更加明显，男女主人公的个人转变成为故事的中心主题。与其他情节相比，我们更有可能在男主角或女主角还很小的时候就遇到他们；所以这个故事明确地向我们展示的是一个人从童年到成熟的成长模式。它将我们的兴趣集中在他们的外在和内在的发展上，以至于从我们第一次看到他们最初的卑微、被忽视的状态的那一刻起，我们就知道让故事得到令人满意的解决的最重要的一件事就是最终看到他们从默默无闻走向光明，他们隐藏的真实自我最终将被所有人看到。然而，这种转变的关键仍然在于他们与黑暗力量的斗争，正如我们所看到的，即使在幼儿时期的两个非常简单的版本中也有象征性的表现，迪克·惠廷顿和穿靴子的猫。在这里，与黑暗力量的关键战斗甚至不是由英雄本人进行的，而是由成为他特殊盟友的“乐于助人的动物”进行的。在每个故事中，都是猫战胜了黑暗的力量。然而，这场战斗中赢得的宝藏才是英雄最终扭转命运的关键，让他与“公主”结合，并以真正的光芒出现，成为值得统治的卓越品质之人一个‘王国’。
In this sense, the Overcoming the Monster story is about the process of working towards maturity. This is presented even more obviously in the Rags to Riches plot, where the hero or heroine’s personal transformation provides the central theme of the story. Much more often than in any other plot we are likely to meet the hero or heroine when they are still very young; so that what the story explicitly shows us is the pattern of someone growing up from childhood to maturity. So much does it concentrate our interest on their outward and inward development that, from the moment we first see them in their initial lowly, disregarded state, we know the one thing essential to bringing the story to a satisfactory resolution will be to see them finally emerging from obscurity into the light, where their true hidden self will finally become obvious for everyone to see. Yet the key to this transformation still lies in their struggle with the dark power, as we see symbolically represented even in those two very simple versions from early childhood, Dick Whittington and Puss in Boots. Here the crucial battle with the dark power is not even fought by the hero himself, but at arms length, by a ‘helpful animal’ who has become his special ally. In each story it is the cat which achieves the victory over the powers of darkness. However, it is the treasure won from this battle which is the key to the final reversal in the hero’s own fortunes, leading to his union with the ‘Princess’ and his emergence in his true light as someone of exceptional qualities, worthy to rule over a ‘kingdom’.
这是我们看到最完整版本的白手起家故事的时候，比如《阿拉丁》、《简·爱》或《大卫·科波菲尔》，我们最清楚地看到这个情节是如何关注从不成熟到成熟的发展过程，在这里男女主人公与黑暗力量的斗争和他们自己的内心转变之间的对立被描绘得更加直接。每个人都是从家里开始的，他们都是年幼的、未成形的孩子。当黑暗力量的阴影降临在他们身上时，随着巫师、布罗克赫斯特先生或默德斯通一家的到来，他们的转变开始了，他们被派到世界上开始一系列漫长的考验，围绕这些考验他们的内心成长。起初，我们看到他们取得了相当大的进步，因为他们在青春期发展到了准备以新的方式进入世界的程度，作为年轻人，寻找“另一半”，与他们一起建立一个永久的生活新中心。但就在他们似乎即将获得幸福结局的时候，核心危机却出现了，黑暗力量以更可怕的面貌重新出现，让他们陷入了故事中任何时候都面临的最绝望的困境。这样做的目的，对应于克服怪物故事中的英雄落入对手手中的那一刻，是为了强调他们现在必须展现出多么卓越的品质才能实现他们的最终目标。他们必须学会以一种他们以前从未做过的方式依赖自己的内在力量。只有当他们实现这一点时，我们才能看到他们成熟到了准备好进行决定性对抗的程度，这使他们能够永远摆脱黑暗势力的控制。当他们从阴影中拯救出自己的“另一半”时，他们终于意识到了自己想要成为的一切。他们终于达到了人生的中心目标。
It is when we come to the fullest versions of the Rags to Riches story, such as Aladdin, Jane Eyre or David Copperfield, that we see most explicitly just how this plot is concerned with the process of developing from immaturity to maturity, and here the counterpoint between the hero or heroine’s struggle with the dark power and their own inner transformation is portrayed much more directly. Each begins at home, as a young, unformed child. Their transformation begins when the shadow of the dark power falls over them, with the arrival of the Sorcerer, Mr Brocklehurst or the Murdstones, and they are sent out into the world to begin that long series of tests around which their inner growth takes place. At first we see them making considerable progress, as they develop through their adolescence to the point where they are ready to go out into the world in a new way, as young adults, searching for the ‘other half’ with whom to establish a permanent new centre to their lives. But just when it seems they might be about to achieve a happy ending, there intervenes that central crisis when the dark power reappears in even more fearsome guise, plunging them into the most desperate plight they face at any time in the story. The purpose of this, corresponding to that moment where the hero of an Overcoming the Monster story falls into his opponent’s clutches, is to emphasise just how exceptional are the qualities they will now have to display to reach their final goal. They must learn to become reliant on their own inner strengths, in a way they have never done before. Only as they achieve this do we see them maturing to the point where they are ready for the decisive confrontation which enables them to throw off the dark power’s grip forever. As they rescue their ‘other half’ from the shadows, they have finally realised everything they had it in them to become. They have at last reached the central goal of their lives.
当然，正是这种将人类生命视为实现完整和自我实现的最终目标的旅程的理念，为《探索》的情节提供了焦点。我们对探索故事的期望集中在这样一种感觉上：在世界的某个地方，有一个遥远的、超越一切的奖赏，值得付出一切努力去实现。随着故事的展开，英雄意识到他身处某个“毁灭之城”，留在那里对他来说将是致命的。唯一的逃脱方法就是踏上通往那个遥远而神秘的目标的旅程。在第一部分中，我们看到英雄和他的同伴踏上旅程，面临着与黑暗力量的一系列战斗。即使当他们的目的地终于出现时，英雄发现他现在面临着一系列新的挑战，因此测试以迎接这些挑战将占据整个故事的后半部分。让人们看到奖项是一回事。最终的考验在于了解如何保护它。然而，当英雄这样做时，我们当然会看到它与早期故事类型中男女主角达到的最终目标是多么相似。当奥德修斯穿着卑微的乞丐的破烂衣服，秘密地走向与可怕的追求者的最后对决时，他就像白手起家的故事和克服怪物的故事合而为一的英雄。最后，当他抓住弓箭击溃求婚者时，他脱掉了伪装，显露出了王者的威严。就像灰姑娘脱掉破烂衣服进行最后的光荣转变一样，他的真实自我终于显露出来。就像阿拉丁、简爱、珀尔修斯和许多其他人一样，奥德修斯将他的“另一半”从阴影中解放出来，继承了他的事业。王国。事实证明，任务的真正目标与我们在早期情节中看到的结局完全相同。
It is of course this idea of a human life as a journey towards the ultimate goal of wholeness and self-realisation which provides the focus for the plot of the Quest. Our expectation in a Quest story is centred on the sense that somewhere in the world there is a distant, all-transcending prize, worth every effort to reach. As the tale opens, the hero becomes aware that he is in some ‘City of Destruction’, where it will be fatal for him to remain. The only way to escape is to embark on the journey towards that far-off, mysterious goal. In the first part, we see the hero and his companions making their journey, facing a succession of battles with the dark power. Even when their destination at last comes in sight, the hero finds he now faces a new set of challenges, so testing that to meet them will take up the entire second half of the story. It has been one thing to bring the prize into view. The ultimate test lies in knowing how to secure it. Yet when the hero does so, of course, we see how remarkably similar it is to that final goal reached by the hero or heroine in the earlier types of story. When Odysseus secretly advances in his humble beggar’s rags towards his final showdown with the monstrous suitors, he is like the hero of a Rags to Riches story and an Overcoming the Monster story rolled into one. At last he throws off his disguise to reveal himself in all his kingly majesty, as he seizes the bow to put the suitors to rout. Like Cinderella when she throws off her rags for her final glorious transformation, his true self is at last revealed. Just like Aladdin, Jane Eyre, Perseus and so many others, Odysseus liberates his ‘other half’ from the shadows and succeeds to his kingdom. It turns out that the true goal of the Quest was precisely the same kind of ending we saw in the earlier plots.
因此，前三个情节实际上都是在讲述一个非常相似的基本故事，只不过每个情节都是从自己独特的角度来看的。我们看到的象征性代表，正如我们在童年时第一次听到的那些简单的小版本中所预示的那样，是任何人如何在漫长而曲折的内在成长旅程中旅行的理想化模式，最终达到完整的自我状态-实现。这三种类型的故事背后的潜在冲动是相同的。
Thus all the first three plots are really looking at a very similar basic story, except that each does so from its own distinctive angle. What we see symbolically represented, as was embryonically foreshadowed in those simple little versions we first hear in childhood, is the idealised pattern of how any human being can travel on the long, tortuous journey of inner growth, finally emerging to a state of complete self-realisation. The underlying impulse behind the three types of story is the same.
内部的敌人
The enemy within
到目前为止，在情节序列中，毫无疑问，故事中的男女主角与这种外部黑暗力量相对立，这种外部黑暗力量被视为他们实现目标的主要障碍。当灰姑娘与她的继母和丑陋的姐妹们相比，简·爱与圣约翰·里弗斯，珀尔修斯与美杜莎，大卫与歌利亚，詹姆斯·邦德与诺博士进行对比时，我们从来没有怀疑过，她们代表着与那些与其他人不同的品质。描绘他们的对手。
Up to this point in the sequence of plots there is never any real doubt that the hero or heroine of the story stands in opposition to this external dark power which is presented as the main obstacle to them reaching their goal. When Cinderella is contrasted with her stepmother and ugly sisters, Jane Eyre with St John Rivers, Perseus with Medusa, David with Goliath, James Bond with Dr No, we never question for a moment that they stand for a different set of qualities to those which characterise their antagonists.
然而，与早期类型的故事相比，我们在《探索》中看到的更多的是英雄和他的同伴本身表现出弱点的情况，犯下愚蠢的错误，这些错误可能会阻止他们实现目标。事实上，任务中的英雄比其他类型的故事中的英雄更常见的一个原因是，这让我们能够看到他们犯下致命的错误，而英雄本人却没有被杀死。而这些无一例外地源于他们自身的缺乏意识，他们未能认识到自己处境的全部真相，结果他们落入了黑暗力量的致命魔爪。1
What we do see in the Quest, however, more than in the earlier types of story, are occasions where the hero and his companions themselves display weaknesses, making foolish errors which threaten to prevent them reaching the goal. Indeed one reason why the hero of a Quest is more commonly than in other types of story given companions is precisely that this allows us to see them making fatal mistakes without the hero himself being killed. And these invariably arise from their own lack of awareness, their failure to recognise the full truth of their situation, with the result that they fall into the deadly clutches of the dark power.1
奥德修斯和他原来的十二船同伴在旅途中犯下了如此多的错误——总是由于一些自私的愚蠢、鲁莽或贪婪的行为——以至于当他回到伊萨卡时，只剩下他自己还活着。《天路历程》中的克里斯蒂安和忠实未能认清《名利场》的真实本质，导致忠实被杀，克里斯蒂安险些保住性命。埃涅阿斯被狄多的爱情所迷惑，在很长一段时间里几乎放弃了寻找新家园的伟大任务，最终不得不被众神之王朱庇特严厉召回。沃特希普镇的兔子当他们未能认识到他们考虑定居的奇怪沃伦的真实本质时，他们犯了一个近乎致命的错误：只有在关键时刻，他们才被菲弗的直觉所拯救，因为它是一个死亡之地。伊阿宋的阿尔戈英雄们，以色列的子孙，许多圣杯探索中的骑士，同样在他们的旅程中陷入了灾难性的误判，总是因为他们的自我中心欲望的吸引，以及一些未能“看到整体”的失败。还有一个让英雄和幸存者最终在任务中取得成功的转变中最重要的因素之一是他们逐渐从错误中吸取教训，并达到不再犯错误的状态。
Odysseus and his original twelve shiploads of companions make so many mistakes on their journey – invariably through some selfish act of folly, recklessness or greed – that by the time he arrives back in Ithaca only he himself is left alive. Christian and Faithful in Pilgrim’s Progress fail to recognise the true nature of Vanity Fair, with the result that Faithful is killed and Christian only narrowly escapes with his life. Aeneas for a long time all but abandons his great task of finding a new homeland when he is bewitched by his love for Dido, and eventually has to be sternly recalled to his quest by Jupiter, the king of the gods. The rabbits in Watership Down make a near-fatal mistake when they fail to recognise the true nature of the strange warren in which they consider settling down: it is only in the nick of time that they are saved by Fiver’s intuitive understanding that it is a place of death. Jason’s Argonauts, the children of Israel, many of the knights on the Grail Quest, are similarly led into catastrophic misjudgements on their journeys, always by some appeal to their egocentric appetites, some failure to ‘see whole’. And one of the most important elements in the transformation which allows the hero and those who survive eventually to succeed in a Quest is that they gradually learn from their mistakes, and arrive at a state where they no longer make them.
因此，一般而言，尽管早期类型的情节显示了男女主人公与目标之间的黑暗力量本质上集中在他们之外，但他们本身越表现出弱点和有限的不成熟意识，他们就越有可能都会成为黑暗力量的牺牲品。当然，我们现在正在转向那些类型的故事，在这些故事中，英雄或女英雄必须对抗的黑暗力量实际上就存在于他们自身之中，这一点变得更加明显。
In general, therefore, although the earlier types of plot show the dark forces which stand between the hero or heroine and the goal as being centred essentially outside them, nevertheless the more they themselves show the weakness and limited awareness of immaturity, the more likely they are to fall prey to the dark power. And of course we are now moving towards those types of story where it is made much more obvious that the dark forces the hero or heroine are having to contend with in fact lie within themselves.
成熟的经历
The maturing experience
与前面的三个情节一样，《远航与归来》的故事最充分地表达了关于成熟的过程。但它与之前情节的不同之处在于它如何呈现男女主人公为了达到目标而必须经历的转变。当我们第一次见到他们时，他们通常很年轻，正处于成年生活的边缘，就像《金屁股》中的卢修斯，或鲁宾逊漂流记或古代水手在他的命运航行开始时。他们不成熟、不负责任、以自我为中心，这直接或间接地就是他们首先跌跌撞撞进入那个对他们来说如此陌生的新世界的原因。他们不完全了解自己在做什么或发生在自己身上的事情，这就是为什么他们被困在另一个世界遇到的黑暗人物的阴影中，这些人物最终威胁要毁灭他们。使他们最终摆脱黑暗力量束缚的，是他们发展出全新的认识。他们“看到了光明”，从而改变了他们的态度；正是这一点，最终让他们逃离了黑暗的力量，回到了他们开始的世界。但他们与未知事物的遭遇发生了巨大的变化，以至于他们与未知事物的关系也发生了很大的变化。他们摆脱了最初意识有限的状态，学会了“看到整体”。他们已经发现了自己是谁。他们已经长大了。
As in the three earlier plots, the Voyage and Return story in its fullest expression is about the maturing process. But where it differs from the earlier plots lies in how it presents the transformation which the hero or heroine must go through if they are going to reach the goal. When we first meet them they are usually young and just on the verge of adult life, like Lucius in The Golden Ass, or Robinson Crusoe or the Ancient Mariner at the start of his fateful voyage. They are immature, feckless and self-centred, and this, directly or indirectly, is why they stumble in the first place into that new world which is so strange to them. They do not fully understand what they are doing or what is happening to them, which is why they become trapped in the shadow of the dark figures they meet in the other world, who eventually threaten them with destruction. What enables them eventually to escape from their thrall to the dark power is that they develop a wholly new understanding. They ‘see the light’ in a way which transforms their attitude; and it is this which eventually allows them to escape from the dark power and to return to the world where they began. But so changed have they been by their encounter with the unknown that their relationship to it is quite different. They have escaped from their original state of limited consciousness and learned to ‘see whole’. They have discovered who they are. They have grown up.
我们甚至在《彼得兔》的儿童故事中看到了这一切的雏形，彼得兔一开始是一个无能、叛逆的小孩子，这让他陷入了被麦格雷戈先生在花园里追赶的可怕困境。最终，在熟悉的噩梦高潮中，彼得发现自己完全陷入困境，不知道下一步该做什么。没有人可以帮助他，他完全靠自己。但随后他跳上一辆独轮手推车，第一次，他可以看到整个花园。他确实已经达到了更高的意识水平，这使他能够“看到整体”。正是这一点，通过向他展示如何到达花园的大门而不必经过麦格雷戈先生，使他能够从看似必死无疑的情况中逃脱。即使他那时，因为这仍然是一个为幼儿设计的故事，
We even see all this embryonically reflected in the children’s tale of Peter Rabbit, who begins as a feckless, rebellious little child, which is what lands him in the appalling plight of being chased round the garden by Mr McGregor. Eventually, in the familiar nightmare climax, Peter finds himself completely trapped, without a clue as to what to do next. No one else can help him, he is completely on his own. But then he jumps up on a wheelbarrow from which, for the first time, he can see the whole garden. He has moved literally to a higher level of consciousness, which enables him to ‘see whole’. It is this which, by showing him how to reach the gate of the garden without having to pass Mr McGregor, allows him to escape with his life from what had seemed certain death; even if he then, because this is still a tale designed for very young children, returns home to mother.
因此，《远航与归来》的情节比之前的任何情节都更明显地向我们展示了一个英雄，为了达到目标，他的心理中心必须经历彻底的转变。最初，他以自我为中心，缺乏对他人的感觉，而且视野有限，他从潜在的黑暗人物的特征，正是这一点，使他处于那些威胁要杀死他的外部黑暗人物的阴影之下。但随后他经历了中心的转变，这让他能够“看到整体”，拯救了他的生命，并让他重新与他人建立了赋予生命的接触。正是这种从黑暗走向光明的转变解放了他，并给他带来了幸福的结局。
The Voyage and Return plot thus shows us, much more obviously than any of the previous plots, a hero who, in order to reach the goal, has to go through a complete shift in his psychological centre. Initially ego-centred, with his lack of feeling for other people and his limited vision, he begins with the potential characteristics of a dark figure, and it is precisely this which places him under the shadow of those external dark figures who threaten to kill him. But he then goes through the change of centre which allows him to ‘see whole’, saving his life and bringing him back into life-giving contact with others. It is this move from darkness to light which liberates him, and brings him to his happy ending.
喜剧
Comedy
《航行与回归》是该序列中的第一个情节，其中心理中心的根本转变被视为至关重要的。更明显的是，这种转变为该序列中的下一个情节“喜剧”提供了关键。
The Voyage and Return is the first plot in the sequence where this fundamental shift of psychological centre is brought out as of central importance. Even more obviously does this shift provide the key to the next plot in the sequence, Comedy.
同样，喜剧情节的基本形式是熟悉的。我们从一个在某种程度上感到沮丧或不完整的英雄或女英雄开始。通常他们刚刚步入成年并期待婚姻。但他们感到沮丧的原因是，他们所居住的小世界处于黑暗力量的阴影之下，这种力量可能集中在某个对男女主角拥有权力的主导人物身上，比如反对他们的“无情的父母”。婚姻，或英雄本人（较少见的是女主角）。喜剧的本质在于，它展示了当一个人变得自我中心时，他周围的每个人都会陷入其阴影之中。没有其他类型的情节能够如此一致地描绘对整个社区的影响——一个家庭、一个朋友圈、邻近的家庭——当该社区的一位主导人物落入黑暗势力的掌控时。由于他（或她）狭隘的自我中心给其他人带来了黑暗的压力，这使得任何人都不可能完全做自己。生命之流被阻塞。
Again, the underlying shape of the Comedy plot is familiar. We begin with a hero or heroine who are in some way frustrated or incomplete. Usually they are just on the threshold of adult life and looking forward to marriage. But the reason for their frustration is that the little world they inhabit is under the shadow of the dark power, which may be centred either in some dominant figure who has power over the hero or heroine, such as an ‘unrelenting parent’ opposed to their marriage, or in the hero himself (less often the heroine). The essence of Comedy is that it shows how, when one person becomes possessed by egotism, this can place everyone around them in its shadow. No other type of plot so consistently portrays the effect on a whole community of people – a household, a circle of friends, neighbouring families – when one dominant figure in that community falls into the grip of the dark power. As his (or her) blinkered egocentricity imposes a dark pressure on everyone else, this makes it impossible for anyone to be fully themselves. The flow of life is blocked.
这就是为什么喜剧中的每个人似乎都处于一种暮色中，看不到任何清晰或完整的东西；在这种情况下，人们因伪装、伪装和误解而变得模糊不清，彼此隔绝。这种普遍的混乱网络最终达到了噩梦的高潮，此时一切似乎都比以往任何时候都更加令人困惑、压抑，而且距离解决更远，威胁着最终的灾难。但突然间，解开谜团的时刻到来了，每个人的真实本性和身份最终都被揭露了。故事中的主要黑暗人物（如果他不仅仅是暴露在舞台上并被捆绑在舞台上的话）经历了根本性的心理转变，使他回归自我。当他从自己的黑暗监狱中被解放出来时，这也打破了压迫其他人的黑暗的控制。女主角，或者男女主角一起从他们被遮蔽的阴影中出现。在他们的中心爱的结合下，整个社区变得团结和完整。每个人都可以自由地成为他或她的“正确的自己”。在普遍的庆祝声中，故事中的小世界再次与生活联系在一起。
This is why everyone in a Comedy may seem to be in a kind of twilight, in which nothing can be seen clearly or whole; in which people are obscured and cut off from one another by pretences, disguises and misunderstandings. This general web of confusion works up to the nightmare climax, when everything seems more bewildering, oppressive and further from resolution than ever, threatening some final disaster. But suddenly comes the unknotting, the moment of recognition when everyone’s true nature and identity is at last revealed. The chief dark figure of the story (if he is not merely exposed and bundled off the stage) goes through the fundamental psychological shift which brings him to himself. As he is liberated from his own dark prison, this also breaks the grip of the darkness which has oppressed everyone else. The heroine, or hero and heroine together, emerge from the shadows in which they have been obscured. Round their central loving union, the whole community is brought to unity and wholeness. Everyone has been freed to become his or her ‘proper self’. Amid universal celebration, the little world of the story has again been connected with life.
悲剧
Tragedy
正如我们现在所看到的，决定悲剧结果的规则与决定其他情节展开的规则没有什么不同。悲剧向我们展示了一个英雄或女英雄的遭遇，他们被自己性格中无情、盲目和以自我为中心的部分所附身，却无法洞察内心。可以释放它们的转变。和其他情节一样，故事以黑暗力量被推翻而结束：只不过这里的男女主人公自己已经完全认同黑暗，以至于只能通过自己的死亡来消除黑暗。
As we now see, the rules which dictate the outcome of Tragedy are no different from those which govern the unfolding of the other plots. Tragedy shows us what happens to a hero or heroine who have become possessed by the heartless, blind and egocentric part of their own personality, but cannot go through the inner transformation which could release them. As in the other plots, the story ends with the dark power being overthrown: except that here the hero or heroine have themselves become so completely identified with the darkness that it can only be eliminated by their own death.
事实上，悲剧的实际形态与我们看过的其他类型的故事有很多相似之处。我们从一位在某种程度上不满意、沮丧或不完整的男女主人公开始。然后，他们陷入黑暗力量的阴影之下：只不过这并不是对他们构成威胁，而是以诱惑的形式出现，这会唤醒并支配他们内心的黑暗部分。与其他类型的故事一样，黑暗力量的真实本质并不是立即显现出来（梦境舞台）。但随着情节的展开，就像其他类型的故事一样，黑暗的真正恐怖终于清晰地显现出来。在越来越强烈的威胁感中，故事最终进入了熟悉的噩梦高潮，黑暗与光明之间的决定性对抗达到了高潮，就像其他情节一样，
In fact the actual shape of Tragedy bears many points of resemblance to that of the other types of story we have been looking at. We begin with a hero or heroine who is in some way dissatisfied, frustrated or incomplete. They then fall under the shadow of the dark power: except that this is not presented as something threatening to them but in the form of a Temptation, which arouses and gives dominance to the dark part of themselves. As in other types of story, the true nature of the dark power is not immediately apparent (the Dream Stage). But as the action unfolds, again as in other types of story, the real horror of the darkness finally comes clearly into view. Amid a mounting sense of threat, the story winds up to the familiar nightmare climax, that decisive confrontation between dark and light which culminates, as in the other plots, in the overthrow of the dark power and the final release which marks the ending of the story.
但因为我们现在是通过主要黑暗人物的眼睛来观看这部熟悉的戏剧，所以《悲剧》比其他情节更密切地关注两件事。首先，它向我们展示了一个人最初是如何变成黑暗人物的；其次，我们明白为什么黑暗力量最终会导致那些受其咒语折磨的人走向毁灭。正如我们在第九章《分裂的自我》中看到的那样，悲剧的男女主人公被某种权力或激情的幻想所占据，试图实现最终无法实现的目标。他们因自我中心的痴迷而变得无情和盲目，变得越来越与他人和周围世界的现实隔绝，直到他们与自己存在的整个环境（包括他们自己的环境）格格不入。更深的自我），虚假的泡沫不再能够持续。正如我们所看到的发生在《奥赛罗》或《道林·格雷》、《斯塔夫罗金》或《杰基尔博士》、《安娜·卡列尼娜》或《艾玛·包法利》上的事情一样，英雄或女英雄最终无法再忍受这种优柔寡断的压力。他们如此瓦解，内在和外在；至此，他们最初的梦想已经成为幻觉；他们狭隘的视野使他们偏离了正轨；他们中的一部分人对自己性格中的黑暗成分所导致的后果感到如此震惊，以至于在自我厌恶中，他们将自杀性的暴力转向自己。因此，我们在悲剧的核心看到了黑暗力量如何反抗整体，最终导致自身的毁灭。
But because we are now seeing this familiar drama through the eyes of its chief dark figure, Tragedy focuses more intimately than the other plots on two things. First it shows us how someone is turned into a dark figure in the first place; and secondly we see just why the dark power eventually leads those who have passed under its spell to destruction. As we saw in Chapter Nine, The Divided Self, the tragic hero or heroine possessed by some fantasy of power or passion is trying to achieve something which cannot ultimately resolve into reality. Made heartless and blinded by the force of their egocentric obsession, they become more and more cut off from other people and from the reality of the world around them, until they are so far at odds with the entire context of their existence (including their own deeper selves) that the bubble of make-believe can no longer be sustained. And as we see happening to Othello or Dorian Gray, Stavrogin or Dr Jekyll, Anna Karenina or Emma Bovary, eventually the hero or heroine can tolerate the strain of this irresolution no longer. So disintegrated are they, inwardly and outwardly; so far has their original dream proved an illusion; so far off the rails has their blinkered vision taken them; so horrified has part of them become at what the dark component in their personality has led them to that, in self-disgust, they turn their violence suicidally on themselves. Thus do we see at the heart of Tragedy how the dark power, in rebellion against the whole, in the end works to bring about its own destruction.
在其他悲剧中，我们看到被黑暗附身的英雄如何在他人的手中招致自己的毁灭。在早期阶段，就像在其他类型的故事中一样，主要的黑暗人物似乎按照自己的方式行事，就像克服怪物故事的早期阶段中的怪物一样。但这逐渐将光明人物推入黑暗投射的阴影中。随着行动的展开，我们逐渐看到关键的两极分化正在发生。故事中的“线之上”是黑暗人物，仍然占主导地位，但越来越深地陷入黑暗的控制之中，并越来越孤立。与此同时，在“线下”的阴影中，光明的力量正与这种不守规矩的力量相对立。对他们所有人来说都如此沉重。这是我们在其他情节中经常看到的情况，例如《战胜怪物》的故事，或在许多喜剧中，例如《费加罗的婚礼》。最终，这种两极分化导致了故事的高潮，即决定性的对抗。正如其他情节一样，黑暗的力量最终被推翻，阴影被解除。对于那些赢得胜利并走向光明的人来说，这是胜利的时刻。毁灭他们一生的黑暗的侵扰已经过去了。和平与完整得以恢复。生命可以再次开始流动。尽管这是一场悲剧，但我们认为它的情况与我们在其他类型的故事结尾看到的情况非常相似。
In other tragedies we see how the hero possessed by darkness provokes his own destruction at the hand of others. In the early stages, as in other types of story, the chief dark figure seems to be getting his own way, just as does the monster in the early stages of an Overcoming the Monster story. But increasingly this drives the light figures into the shadows cast by his darkness. And as the action unfolds we gradually see a crucial polarisation taking place. ‘Above the line’ in the story is the dark figure, still dominant, but passing further and further into the grip of darkness and increasingly isolated. Meanwhile, in the shadows ‘below the line’, the forces of light are constellating in opposition to this unruly power which weighs so heavily on them all. This is the kind of situation we see so often in other plots, as in Overcoming the Monster stories, or in many comedies, such as The Marriage of Figaro. Eventually this polarisation leads to the climax of the story, the decisive confrontation. Just as in other plots, the power of darkness is finally overthrown, the shadows are lifted. And for those who have won the day and emerged into the light, this is a moment of victory. The irruption of darkness which had blighted all their lives has passed away. Peace and wholeness are restored. Life can begin to flow again. Even though this is a Tragedy, we recognise it as a situation very similar to that which we see at the end of other types of story.
此类悲剧的一个明显例子是《麦克白》。2我们看到英雄陷入了黑暗力量的掌控之中。随着他在“上界”变得越来越黑暗，他周围越来越多的人成为他盲目而致命的自我主义的受害者。但对于他杀死的每一个主要受害者——邓肯、班柯、麦克德夫的妻子和孩子，都有另一个人逃脱了——马尔科姆、弗利恩斯、麦克德夫本人——并逃离了王国进入英格兰。在这里，在麦克白有限的意识范围之外的“下界”中，光明势力集中了自己的力量，直到准备好入侵“上界”，逼近怪物，进行最高潮的对抗。当逆转发生并且篡夺的暴君被推翻时，我们看到的是一个在合法国王统治下恢复正常的王国。事实上，当他们都前往斯昆参加马尔科姆的加冕典礼时，这出戏以庄严的欢乐气氛结束。正如其他类型的故事一样，随着王国恢复完整，巨大的奖品也从黑暗的手中夺取。尽管从一个不寻常的角度来看，我们本质上看到的是熟悉的幸福结局的一个版本。
An obvious example of this type of tragedy is Macbeth.2 We see the hero drawn into the grip of the dark power. As he becomes more and more dark, in his ‘upper realm’, so an ever growing number of those around him fall victim to his blind and deadly egotism. But for each of the chief victims he kills, Duncan, Banquo, Macduff’s wife and children, there is another who escapes – Malcolm, Fleance, Macduff himself – and who flees the kingdom into England. Here, in the ‘inferior realm’, beyond Macbeth’s limited field of awareness, the light forces concentrate their own power, until they are ready to invade the ‘upper realm’ and to close in on the monster for the climactic confrontation. When the reversal has taken place and the usurping tyrant has been overthrown, what we see is a kingdom restored to itself, under its rightful king. Indeed the play ends on a note of solemn rejoicing as they all head off to Scone for Malcolm’s coronation. Just as in other types of story, as the kingdom is restored to wholeness, the great prize has been wrested from the grip of darkness. What essentially we are looking at, albeit from an unusual angle, is a version of the familiar happy ending.
重生
Rebirth
《重生》的故事结束这个序列是恰当的，因为在其更简单的形式中，它如此清晰地与开始它的情节类型联系在一起，其中黑暗力量被呈现为完全在中心人物之外的东西。在童话版本的《重生》中，我们在童年时遇到过，故事中黑暗的主要来源是一些具有魔法力量的神秘老年人物的化身，例如《白雪公主》或《睡美人》中将女主角置于囚禁咒语中的邪恶女巫。 。后来我们会看到这些版本，比如《罪与罚》或《塞拉斯·马纳》，其中黑暗以英雄或女英雄自己的个性为中心呈现。在这里，由于他们本身已经变得黑暗，为了获得解放，他们必须经历与我们在《航海与归来》故事或喜剧中看到的完全相同的心理转变（甚至开始在一些悲剧中看到，例如《李尔王》）：从以自我为中心的有限意识转移到人类个性的更深层次中心，从而打开他们的理解并将他们与整个世界结合起来。
It is appropriate that the story of Rebirth should conclude this sequence because, in its simpler forms, it links back so clearly to the types of plot which began it, where the dark power is presented as something wholly outside the central figure. In the fairy tale versions of Rebirth we come across in childhood the chief source of darkness in the story is personified in some mysterious older figure with magical powers, such as the malign witches who in Snow White or Sleeping Beauty place the heroine under an imprisoning spell. Later we come to those versions, like Crime and Punishment or Silas Marner, where the darkness is presented as centred within the hero or heroine’s own personality. And here, since they themselves have become dark, in order to be liberated they have to go through precisely that same psychic shift we see in Voyage and Return stories or Comedy (and even begin to see in some tragedies, like King Lear): the move from the restricted awareness centred on the ego to that deeper centre in the human personality which opens out their understanding and unites them with all the world.
最后在两个斯堪的纳维亚版本中，《冰雪女王》和《皮尔·金特》，我们看到重生故事的两个版本汇集在一起。在每种情况下，英雄都被他身外的两个黑暗、年老的人物——一个邪恶的魔法师和一个强大的女巫——组合起来囚禁在咒语之下。但在每种情况下，这都会暴露出英雄自身性格的阴暗面，这正是逐渐将他拖入噩梦般的孤立之中的原因。最后，在每一个案例中，他都被“永恒女性”的闪亮化身从监狱中释放出来，她是一个既坚强又充满爱心的女人，她是光明的。这最终激发了他从有限的人格中心（故事的大部分时间都在其中）转变为他有意识地认识到的“真实自我”的更深层次的中心。因此，每个英雄都可以在一个灿烂夏日的温暖和光明中结束他的故事，
Finally in the two Scandinavian versions, The Snow Queen and Peer Gynt, we see both versions of the Rebirth story brought together. In each case the hero is placed under an imprisoning spell by the combination of two dark, older figures outside him, a wicked magician and a powerful witch. But in each case this has the effect of bringing out the dark side of the hero’s own personality, which is what gradually draws him into nightmarish isolation. At last in each case he is released from his prison by a shining personification of the ‘eternal feminine’, a woman both strong and loving, who is all light. This is what finally inspires the shift from the limited centre of his personality in which he has spent most of the story, to that deeper centre which he consciously recognises to be his ‘true self’. Thus it is that each hero can be shown ending his story in the warmth and light of a glorious summer’s day, joyously alive because he is united with the ‘other half’ who has at last both set him free and made him whole.
故事的基本形式：总结
The underlying shape of stories: Summing up
因此，我们看到，故事在人类想象中自然形成的这七种主要方式的背后都隐藏着相同的基本冲动。
We thus see that behind each of these seven central ways in which stories naturally form in the human imagination lies the same fundamental impulse.
每个故事都首先向我们展示了一个在某种程度上不完整的英雄或女英雄，然后他们遭遇了黑暗力量。在故事的大部分时间里，黑暗力量仍然占据主导地位，投下阴影，一切都悬而未决。但动作的本质在于，它向我们展示了故事中光明与黑暗的力量逐渐聚集，产生最后的决定性对抗。因此，在任何达到完全解决的故事中（当然，出于我们稍后将探讨的原因，有很多没有实现的原因），结局向我们展示了黑暗势力如何被推翻，光明结局取得胜利。唯一的问题是中心人物是否与光认同，在这种情况下，他或她最终获得解放和完整；或者他们是否已经不可挽回地落入黑暗的掌控，在这种情况下他们就会被毁灭。但，无论中心人物的命运如何，这个过程的真正根本目的是向我们展示光明最终如何战胜黑暗。这就是我们人类想象故事的冲动最终集中的原型模式。
Each begins by showing us a hero or heroine in some way incomplete, who then encounters the dark power. Through most of the story the dark power remains dominant, casting a shadow in which all remains unresolved. But the essence of the action is that it shows us the light and dark forces in the story gradually constellating to produce a final decisive confrontation. As a result, in any story which reaches complete resolution (and of course, for reasons we shall explore later, there are many which do not), the ending shows us how the dark power can be overthrown, with the light ending triumphant. The only question is whether the central figure is identified with the light, in which case he or she ends up liberated and whole; or whether they have fallen irrevocably into the grip of darkness, in which case they are destroyed. But, whatever the fate of the central figure, the real underlying purpose of the process has been to show us how, in the end, light overcomes the darkness. Such is the archetypal pattern around which our human urge to imagine stories is ultimately centred.
在最基本的层面上，当我们追随任何故事时，我们体验这种模式展开的方式在于我们感受到黑暗力量逼近中心人物的压力的时刻与我们感受到这种压力的时刻之间的对比放松。压力可能是对他们生命的实际威胁；或其他某种肉体或精神的监禁；或者可能只是对他们的处境缺乏任何解决方案，使他们感到失落和困惑，无法理解周围的环境，也看不到下一步该做什么。当压力解除时，释放就会到来：当对他们生命的威胁消退时；当他们越狱时；当他们能够再次清楚地看到前进的道路时。事实上，任何故事的基本节奏正是由收缩和解放阶段之间的交替决定的。我们在所看过的每种类型的故事中都看到了这些交替的共同模式。
At its most basic level, the way we experience the unfolding of this pattern when we are following any story lies in the contrast between the moments when we sense the pressure of the dark power closing in on the central figure and those when we sense that pressure being relaxed. The pressure may be that of an actual threat to their life; or that of some other physical or spiritual imprisonment; or it may simply be the lack of any resolution to their situation, so that they feel lost and confused, cannot make sense of their surroundings and cannot see what do next. The release comes when that pressure is lifted: when the threat to their life recedes; when they escape from imprisonment; when they can again see clearly the way forward. In fact the fundamental rhythm of any story is determined precisely by this alternation between phases of constriction and liberation. And there is a common pattern to these alternations which we have seen in every type of story we have looked at.
通过我们的情节序列，我们一次又一次地注意到它们如何通过由五个阶段组成的基本结构展开。这些阶段的名称并非在所有情况下都一致，因为它们中发生的事情可能会根据每种情节的具体要求而有所不同。但我们现在可以看到，在另一个层面上，它们背后有一个基本结构，它展示了任何完全解决的故事如何形成的本质。
Again and again through our sequence of plots we noted how they unfold through a basic structure consisting of five stages. The names given to these stages did not in every instance coincide, because what is happening in them may vary according to the specific demands of each type of plot. But we can now see how, on another level, there is a basic structure underlying them all, which shows the essence of how any fully resolved story takes shape.
(1) 这从初始阶段开始，此时我们看到男女主人公在某种程度上感到受到限制。这就产生了需要解决的张力，从而导致故事的发展。
(1) This begins with an initial phase when we are shown how the hero or heroine feel in some way constricted. This sets up the tension requiring resolution which leads into the action of the story.
(2) 接下来是一个开放的阶段，因为男女主人公意识到他们正走在通往某种新状态或某个遥远的解决点的道路上。
(2) This is followed by a phase of opening out, as the hero or heroine sense that they are on the road to some new state or some far-off point of resolution.
（3）最终这会导致更严重的压抑阶段，黑暗力量的力量和男女主角面对它的局限性都变得更加明显。
(3) Eventually this leads to a more severe phase of constriction, where the strength of the dark power and the hero or heroine’s limitations in face of it both become more obvious.
（4）然后我们看到一个阶段，尽管黑暗力量仍然占主导地位，但故事中的光明元素正在为最后的对抗做准备。最终达到噩梦的高潮，光明与黑暗的对立达到最极端，每个人所承受的压力也达到最大。
(4) We then see a phase where, although the dark power is still dominant, the light elements in the story are preparing for the final confrontation. This eventually works up to the nightmare climax, when opposition between light and dark is at its most extreme and the pressure on everyone involved is at its greatest.
(5) 当黑暗的控制最终被打破时，这在逆转和解放的时刻达到了顶峰。故事就这样结束了，一切都终于解决了，一切都结束了。
(5) This culminates in the moment of reversal and liberation, when the grip of the darkness is finally broken. The story thus ends on the sense of a final opening out into life, with everything at last resolved.
因此，所有这一切背后的基本模式，任何正确构建的故事的模式，都是三重潮起潮落的模式，其中两个极点之间的摇摆变得更加明显，直到达到高潮。最初的收缩和第一次有限的开放之后是新的、更严重的收缩。接下来是一个准备阶段，最终达到最尖锐的收缩，即故事的高潮。这导致了最终的解放，并颁发了奖品。
The essential pattern underlying all this, the pattern of any properly constructed story, is therefore that of a threefold ebb-and-flow, in which the swings between the two poles become more pronounced until the climax is reached. The initial constriction and a first, limited opening out are followed by a new, more serious constriction. This is followed by a phase of preparation which culminates in the most acute constriction of all, the story’s climax. This leads to the final liberation, with the release of the prize.
在这样的时刻，我们一次又一次地认识到，某种东西是我们一生讲故事经验的根源，无论其形式和外表如何：在一个故事的结尾，只有在经历了巨大的困难和之后，这种感觉才得以实现。经过漫长而痛苦的斗争，某种具有不可估量的赋予生命价值的东西终于从一个牢牢抓住它的黑暗、囚禁的矩阵中诞生了。
At such a moment we recognise, again and again, something which lies at the very root of our lifelong experience of storytelling, in all its myriad forms and guises: the sense, at the ending of a story, that only with enormous difficulty and after a long and painful struggle, something of inestimable life-giving value has at last been worked forth from a dark, imprisoning matrix which held it fast.
当我们从这个角度看待故事的本质时，我们留下了三个最重要的问题。这个必须从暗处夺取的无价之宝是什么？到底是什么造成了这些阴影并首先造成了这种监禁？而且，与其中任何一个一样重要的是，要成功实现这种解放需要什么？
When we see the essence of stories in this light we are left with three overriding questions. What is this thing of priceless value which has to be won from the shadows? What is it which casts those shadows and creates that imprisonment in the first place? And, just as important as either of these, what is it that is required for this liberation to be successfully achieved?
这些就是我们在本书的下一部分中讨论的问题。但在此之前，我们可以在第一部分的尾声中暂停一下，介绍一下讲故事中一个非常重要的元素，到目前为止我们几乎没有触及过。
Such are the questions we look at in the next part of the book. But before that we may pause, in an epilogue to Part One, to take an introductory look at an extraordinarily important element in storytelling which so far we have scarcely touched on.
第一部分的尾声
“三法则”（数字在故事中扮演的角色）
Epilogue to Part One
The Rule of Three (the role played in stories by numbers)
“三肯定是动态原理本身；巴尔扎克说，“三是一切创造的公式”。
‘Three definitely is the dynamic principle itself; and “three” says Balzac, “is the formula of all creation”.’
R. Allendy，《Nombres 的象征》 (1948)
R. Allendy, Le Symbolisme des Nombres (1948)
‘一变成二；二变三；从第三个中产生第四个，即“一”。
‘One becomes two; two becomes three; and out of the third comes the fourth, the One.’
炼金术文献中的“玛丽亚公理”
The ‘Axiom of Maria’, in alchemical literature
如果不认识某些数字的原型意义，就不可能正确理解讲故事的无意识结构。
It is impossible to reach a proper understanding of the unconscious structures of storytelling without recognising the archetypal significance of certain numbers.
几乎在任何故事的一开始，都有一个非常重要的“一”：故事的中心人物，我们认同的男主角或女主角。
In the beginning, in almost any story, there is an all-important ‘one’: the central figure of the story, the hero or heroine with whom we identify.
然后，迟早会出现一种分裂感，一种一分为二的感觉，就像故事的英雄和主要的黑暗人物之间的对立，或者一般的“光明”和“黑暗”之间的对立：产生冲突的冲突故事的大部分动作。但还有另外一个非常重要的“两个”，男主角和女主角，中心人物和可以使他们完整的“另一半”。
Then, sooner or later, there arises a sense of division, of a splitting into two, as in the opposition between the story’s hero and its chief dark figure, or the opposition between ‘light’ and ‘dark’ generally: the conflict which creates most of the action of the story. But there is also that other very important ‘two’, the hero and the heroine, the central figure and that ‘other half’ who can make them whole.
然而，我们在故事中无法不注意到的最明显的数字是“三”，因为它在从小就熟悉的民间故事中如此频繁地出现。我们一次又一次地看到事物如何三次出现：事物如何必须发生三次；事物如何发生三次；事物如何发生。英雄如何实现三个愿望；灰姑娘如何三次参加舞会？男主角或女主角如何是三个孩子中的第三个。
The most obvious number we cannot help noticing in stories, however, because it occurs so insistently in the folk tales familiar from childhood, is ‘three’. Again and again we see how things appear in threes: how things have to happen three times; how the hero is given three wishes; how Cinderella goes to the ball three times; how the hero or the heroine is the third of three children.
很少有童年故事比《金发姑娘和三只熊》更引人注目地围绕数字“3”展开。当小女主角到达森林里的神秘房子时，她看到桌子周围有三张椅子，还有三碗粥。当她依次尝试每一碗时，一碗太热，一碗太冷，只有第三碗刚刚好，她全吃光了。当她尝试椅子时，一把太硬，一把太软，只有一把恰到好处，当金发姑娘坐在上面时，她把它打破了。最后她上楼试了一下三张床。现在看来很自然的是，第一个在某种程度上是错误的，第二个在另一个方面是错误的，只有第三个也是最小的刚刚好，而金发姑娘就在这里躺下睡觉。现在一切都准备好了，当三只熊回来时，令人震惊的阴影就会入侵。起初他们还在楼下，保持着舒适的距离，当我们重新开始这个三重序列时，三只熊轮流发现有人在吃他们的粥并坐在他们的椅子上。当熊宝宝发现他的椅子坏了时，他的忧虑感与日俱增。影子一直在向熟睡的女主角靠近，甚至更近。当熊上楼检查床时。我们第三次重复这个顺序，先是熊爸爸，然后是熊妈妈，直到最后熊宝宝看看他的床，金发姑娘还在那里！对于正在识别的孩子来说，这是可怕的高潮。正是在这里，当我们再次到达这个累积的三连串中的第三个时，紧张终于得到释放，金凤花姑娘跳出窗户，匆匆跑回家。
Few childhood tales are built more conspicuously round the number three than Goldilocks and the Three Bears. When the little heroine arrives at the mysterious house in the forest, she sees three chairs round the table, and three bowls of porridge. When she tries each of the bowls in turn, one is too hot, one too cold, only the third is just right, and she eats it all up. When she tries the chairs, one is too hard, one too soft, only one just right, and when Goldilocks sits on it she breaks it. Lastly she goes upstairs and tries the three beds. It now seems quite natural that the first is wrong in one way, the second in another, only the third and smallest just right, and that it is here Goldilocks lies down and goes to sleep. Everything is now set for the alarming shadow to intrude, as the three bears return. At first they are still downstairs, comfortably distant, as we begin the threefold sequence all over again, with the three bears each discovering in turn that someone has been eating their porridge and sitting in their chairs. When Baby Bear finds his chair is broken, this builds up a sense of mounting apprehension. All the time the shadow is coming closer to the sleeping heroine, even more so when the bears come upstairs to examine the beds. For a third time we go through the sequence, Father Bear first, Mother Bear next, until finally Baby Bear looks at his bed and Goldilocks is still there! For the identifying child this is the fearful climax. And it is here, as we again reach the third in this cumulative sequence of threes, that the tension is at last released, as Goldilocks leaps through the window and scuttles off home.
《小红帽》是一个更巧妙地围绕三人展开的故事。当女主角第一次在森林里遇到狼时，他看起来很友善。在他第二次出现时，我们看到他真正的黑色，当他到达房子并吃掉祖母时。在他的第三次表现中，当小红帽亲自来到房子时，他一开始看起来还是很友善，因为他试图冒充祖母。但通过另一个更明显的三个过程，女主人公表达了她越来越多的怀疑（“你有多大的耳朵”，“你有多大的眼睛”，“你有多大的牙齿”），直到，第三次对话中，狼以他真正的黑色身份从床上跳起来，试图吃掉她：当然，在这高潮时刻，再次出现了“惊心动魄的逃脱”，樵夫冲进来用他的手杀死了狼。斧头。
A story rather more subtly built up around three is Little Red Riding Hood. When the heroine first encounters the wolf in the forest, he seems quite friendly. On his second appearance, we see him in his true dark colours, when he arrives at the house and eats the grandmother. In his third manifestation, when Red Riding Hood herself arrives at the house, he again initially seems benign, as he tries to pass himself off as the grandmother. But by another, more obvious process of three, the heroine expresses her mounting suspicion (‘what big ears you’ve got’, ‘what big eyes you’ve got’, ‘what big teeth you’ve got’) until, on the third exchange, the wolf jumps out of bed in his true black identity, attempting to eat her: and again of course, at this moment of climax, comes the ‘thrilling escape’, when the woodcutter bursts in to kill the wolf with his axe.
我们在上一章开头看到的所有童年故事都同样围绕三人展开。在《杰克与魔豆》中，主人公三次拜访巨人的城堡，并带着三件价值不断上升的黄金宝藏逃脱：黄金（黄金本身）、下金蛋的鹅（保证无限期供应给巨人）未来），金竖琴（这在某种程度上是最好的，因为它演奏美妙的、鼓舞人心的音乐，触动灵魂）。和往常一样，这是三个序列中的最后一个，它导致了高潮，促成了故事的逆转和结局。三只粗暴的比利山羊和三只小猪的故事每个都是围绕两个三个序列构建的。每个人都有三名英雄，他们必须轮流对抗黑暗人物。在第一种情况下，山羊的体型逐渐增大，重要的是，最小的和中等大小的山羊分别诱骗巨魔让它们过去，直到最大、最强壮的山羊最终能够正面攻击巨魔，将他撞到。毁灭，从而使三人都能上山，走向幸福的结局。在第二个故事中，同样重要的是，猪们建造了强度不断上升的房屋，因此狼可以轻松地吹倒第一个由稻草制成的房屋，而第二个由木头制成的房屋则稍不那么容易，但被第三个击败，因为它是砖做的。正是这一点促成了狼的毁灭，也促成了第三只小猪的幸福结局。1
All the childhood tales we looked at the beginning of the last chapter are similarly built up around threes. In Jack and the Beanstalk this takes the form of the hero’s three visits to the giant’s castle, escaping with three golden treasures of ascending value: the gold (which is just itself), the goose which lays golden eggs (guaranteeing an indefinite supply into the future), the golden harp (which is somehow best of all, because it plays wonderful, inspiring music, touching the soul). And as usual it is the last in the sequence of three which leads to the climax, precipitating the reversal and the end of the story. The stories of the Three Billy Goats Gruff and The Three Little Pigs are each built up around two sequences of three. Each has three heroes, who each in turn must confront the dark figure. In the first, the goats are of ascending size, and it is important that the smallest and middle-sized goats each trick the troll into letting them past, until the biggest, strongest goat can at last tackle the troll head on, butting him to destruction, thus allowing all three to proceed up the mountain to their happy ending. In the second tale, it is equally significant that the pigs build houses of ascending strength, so that the wolf can easily blow down the first, made of straw, and slightly less easily the second, made of wood, but is defeated by the third, because it is made of brick. It is this which precipitates the wolf’s destruction and, for the third pig, the happy ending.1
“三”在这些古老的民间故事中的作用是如此明显，以至于人们不能错过它。当我们看到一个更现代的例子“彼得兔”时，这一点可能就不那么明显了。但是，“三”的原型在不知不觉中根深蒂固，我们看到它在营造高潮的紧张感方面发挥着与在“三”中完全相同的作用。民间故事。当英雄最终与麦格雷戈先生面对面时，他首先逃跑，并被外套纽扣缠住。当他挣脱外套并进行第一次“惊心动魄的逃跑”时，他即将被抓住。随后，他被麦格雷戈先生追进了一个棚子，躲进了一个喷壶里，但由于打喷嚏而暴露了身份，因此不得不进行第二次“惊心动魄的逃跑”。只有当他感到最终被困住时，他才会跳上独轮车，这让他看到了如何进行第三次“惊心动魄的逃脱”。第三次再次证明了他的魅力，让他最终跑回家，迎来了幸福的结局。
The role of ‘three’ in these old folk tales is so explicit that one cannot miss it. When we come to a more modern example, Peter Rabbit, this may not be quite so obvious. But, so unconsciously engrained is the archetype of ‘three’, we see it playing exactly the same role in building up tension towards the climax as in a folk story. When the hero finally comes face to face with Mr McGregor, he first runs away and gets caught in a net by the buttons of his coat. He is about to be caught when he wriggles out of his coat and makes his first ‘thrilling escape’. He is then pursued by Mr McGregor into a shed and hides in a watering can, but gives himself away by sneezing, thus having to make a second ‘thrilling escape’. Only when he feels finally trapped does he leap up onto the wheelbarrow, giving him the vision to see how to make his third ‘thrilling escape’. Once again it is the third which proves the charm, allowing him at last to run off home to his happy ending.
我们在所有这些例子中看到的是“三”如何成为重要事件发生的最终触发因素。故事之三是成长和转变的数量。正如我们在比赛开始时所说的“准备，稳定，出发”来让赛跑者做好准备并集中注意力，因此，“三”的过程传达了稳定的积累到转变的时刻，使英雄或女英雄能够继续前进下个阶段。它向我们传达了这样一种感觉：故事中发生的奇迹般的发展并不是立即发生、毫不费力地发生的；而是发生在故事中的。它们需要不断积累经验、专注和努力，直到一切准备就绪，可以发生转变。我们看到这个三规则主要以四种方式表达：
What we see in all these examples is how ‘three’ is the final trigger for something important to happen. Three in stories is the number of growth and transformation. Much as we say ‘Ready, steady, go’ to prepare and concentrate the runners at the start of a race, so the process of three conveys the steady build up to a moment of transformation which enables the hero or heroine to move on to the next stage. It conveys to us a sense that the miraculous developments which take place in stories do not just happen instantly and effortlessly; they require a steady accumulation of experience, concentration and effort, until everything is ready to allow the transformation to take place. And we see this rule of three expressed in four main ways:
（1）“简单”或“累积三”，其中每件事情的价值大致相同，但所有三件事都必须放在一起或按顺序依次接替，然后男主角或女主角才能继续前进或到达他们的目标最后的转变：例如，灰姑娘三次拜访舞会，阿拉丁在发现神灯之前必须经过三个宝藏洞穴。
(1) The ‘simple’ or ‘cumulative three’, where each thing is of much the same value, but all three have to be put together or succeed each other in sequence before the hero or heroine can move on, or come to their final transformation: e.g., Cinderella’s three visits to the ball, the three treasure-caves Aladdin has to go through before he discovers the lamp.
（2）“进步”或“上升三”，其中每件事情都有积极的价值，但每件都比上一件更重要或更有价值：例如，杰克从巨人那里赢得的三件宝藏的上升价值（这个想法更那些民间故事中明确表达了英雄必须赢得三件物品，这些物品依次由青铜、银和金制成）。还有“下降三”，其中每个都是负值，但同样会达到高潮（例如，小红帽向狼提出三个问题，导致“最好一起吃掉你”，正如狼所揭示的那样）他真正致命的性格）。
(2) The ‘progressive’ or ‘ascending three’, where each thing is of positive value but each a little more important or valuable than the last: e.g., the ascending value of Jack’s three treasures won from the giant (this idea is more explicitly expressed in those folk tales where the hero has to win three objects, made in turn of bronze, silver and gold). There is also the ‘descending three’, where each is of negative value, but similarly working up to a climax (e.g., Red Riding Hood’s three questions to the wolf, leading to ‘all the better to eat you with’ as the wolf reveals his true deadly character).
（3）“对比”或“双反三”，其中前两个是不充分或错误的（本质上是相同的），而只有第三个有效或成功。我们在三只小猪身上看到了这种元素，其中两只被吃掉，尽管这种情况在民间故事中最常见，其中男主人公或女主人公是第三个孩子，而另外两只相同的孩子通常年龄较大，肤色黝黑。灰姑娘的两个“丑姐妹”就像同卵双胞胎一样。她们的存在只是为了呈现灰姑娘正面的双重负面，就像《美女与野兽》中女主角的两个姐妹一样。
(3) The ‘contrasting’ or ‘double-negative three’, where the first two are inadequate or wrong (essentially in the same way) and only the third one works or succeeds. We see an element of this in the three little pigs, two of whom get eaten, although it is most commonly seen in folk tales where the hero or heroine is the third child, contrasted with two identical others, usually older, who are dark. Cinderella’s two ‘ugly sisters’ are as alike as identical twins. They are there merely to present a double-negative to Cinderella’s positive, as do the heroine’s two sisters in Beauty and the Beast.
(4) 三的最终形式，即能够进行最复杂发展的形式，可以称为“辩证三”，其中，正如我们在《金发姑娘》中所看到的那样，第一个在某一方面是错误的，第二个在另一个方面是错误的，或者相反，只有中间的第三种方法是正确的。这个想法表明前进的道路在于在对立面之间找到一条准确的中间道路，这对于讲故事来说非常重要，而且正如我们将看到的，它的一些表达方式具有惊人的微妙性。
(4) The final form of three, the one capable of the most sophisticated development, is what may be called the ‘dialectical three’ where, as we see reflected in Goldilocks, the first is wrong in one way, the second in another or opposite way, and only the third, in the middle, is just right. This idea that the way forward lies in finding an exact middle path between opposites is of extraordinary importance in storytelling and, as we shall see, some of the ways in which it finds expression are of breathtaking subtlety.
到目前为止，在介绍数字在故事中的作用时，我们主要关注那些简单的童年故事，其中“三法则”是显而易见的。但在前面的章节中，我们已经瞥见了这条规则如何在更复杂的故事类型中发挥同样的作用，而不是那么明显。例如，我们在探索故事中经常看到，英雄在实现目标之前必须面对三项最后的考验：就像杰森赢得金羊毛之前所面临的三项考验一样；或者埃涅阿斯在与公主结婚并安全建立新王国之前所面临的三场战斗；或者艾伦·夸特曼和他的朋友在所罗门王矿井中所面临的三场考验，然后他们才能推翻暴君特瓦拉和女巫加古尔以确保宝藏。在《李尔王》中就像在民间故事中一样，我们将科迪莉亚视为第三个、活泼的女儿，与她的两个黑暗、诡计多端的双重否定姐妹形成鲜明对比。在《圣诞颂歌》中，我们看到斯克鲁奇这个角色处于黑暗状态，最初是由三种反社会的无情行为所定义的；这些引发了以过去、现在和未来的圣诞节精神为中心的连续三个噩梦，最终引发了他的重生；当他重获新生、轻松自在时，他最终扭转了故事开始时的每一个拒绝行为，这一点得到了证实。
So far in this introduction to the role of numbers in stories we have focused on those simple childhood tales where the ‘rule of three’ is obvious. But in earlier chapters we have already caught glimpses of how this rule plays the same function, rather less blatantly, in more sophisticated types of story. We saw how often in Quest stories, for instance, the hero has to face three final ordeals before he can secure his goal: as in the three tests imposed on Jason before he can win the Golden Fleece; or the three battles faced by Aeneas before he can marry the Princess and safely establish his new kingdom; or the three ordeals faced by Allan Quatermain and his friends in King Solomon’s Mines before they can overthrow the Tyrant Twala and the Witch Gagool to secure the treasure. In King Lear, as in a folk tale, we see Cordelia as the third, light daughter, contrasted with the double-negative of her two dark, scheming sisters. In A Christmas Carol we see the character of Scrooge in his dark state initially defined by three acts of antisocial heartlessness; these trigger off the three successive nightmares centred on the spirits of Christmas Past, Present and Future which eventually trigger off his rebirth; and this is confirmed when, in his reborn, light self, he finally reverses each of the acts of rejection with which the story began.
一旦我们意识到“三”在讲故事中的原型意义，我们就会发现它随处可见，并以各种或大或小的不同方式表达。它对于人类想象力的运作方式是如此重要，以至于它常常以连故事讲述者都没有意识到的方式出现。例如，当阿拉丁取回神灯后被困在山洞里时，他应该被困在那里三天，这似乎是很自然的。这似乎是正确的数字来表达他逐渐失去所有希望的过程，直到第三天结束时，他终于绝望地摩擦着手指上的戒指，并遇到了释放他的精灵。同样自然的是，当夏洛特·勃朗特描述简·爱在婚礼流产后越过荒野逃跑时，她应该让她的女主人公心烦意乱地徘徊三天，直到她最终变得如此绝望，以至于她跳到家门口死去。直到那时，她才被圣约翰·里弗斯发现并收养并恢复了生命。
Once we become aware of the archetypal significance of three in storytelling, we can see it everywhere, expressed in all sorts of different ways, large and small. It is something so fundamental to the way the human imagination works, that it often appears in ways of which not even the storyteller may have been conscious. It seems, for instance, quite natural that when Aladdin gets trapped in the cave after retrieving the lamp, he should be stuck there for three days. It seems the right number to convey the process of him gradually losing all hope until, when the third day is up, he at last despairingly rubs the ring on his finger and is confronted by the genie who releases him. It seems equally natural that when Charlotte Bronte describes Jane Eyre running away across the moors after her aborted wedding, she should have shown her heroine wandering distractedly for three days until she finally becomes so desperate that she throws herself on a doorstep to die. Only then is she discovered by St John Rivers and taken in to be restored to life.
这种强调“三”的真正意义在于，它以一种象征性的速记方式向我们传达了男女主人公为实现最终目标而努力的过程是多么曲折和艰难；以及如何只有一种正确的方法可以让他们走上最终通往奖品的道路。
The real point of this emphasis on three is the way it conveys to us, by a kind of symbolic shorthand, just how tortuous and difficult is the process whereby the hero or heroine is working towards their ultimate goal; and how there is only one, correct way for them to thread the path which will eventually lead them to their prize.
事实上，最明显的呈现方式之一是在所有这些故事中，为了达到目标，男主角或女主角必须精确地穿过两个同样致命的对立面，代表“双重否定”。我们在所有那些探索故事中都看到了这一点，其中对立面之间的通道是其中之一英雄和他的同伴必须经历的磨难，从杰森的阿尔戈号在撞击的岩石之间航行，到克里斯蒂安必须沿着“笔直而狭窄”的道路，在死亡阴影之谷的危险旅程中生存下来。在奥德修斯面临的版本中，当他必须恰好在斯库拉和卡律布狄斯之间航行时，这更像是“辩证三人”，其中每个对立面都构成不同的威胁，这就是为什么奥德修斯必须接受两次挑战。第一次，他驾驶得太靠近怪物斯库拉（Scylla），第二次又太靠近漩涡卡律布狄斯（Charybdis），因此他遭受了两者的不良影响。但至少他最后还是挺过来了；不像伊卡洛斯，他无视父亲的指示，保持中间位置，飞得太高，在一个错误的方向上犯了太远的错误，结果他被推向相反的方向并被摧毁。“辩证三”的另一个明确呼应是他的父亲给鲁滨逊的指示，即他必须追求人生的“中间站”，不能志存高远，也不能沉沦太低；正是在这里，在吸取了他的冒险经历所教给他的所有深刻教训之后，他终于达到了故事的幸福结局。
Indeed one of the more obvious ways in which this can be presented is in all those stories where, to reach the goal, the hero or heroine has to pass precisely between two equally deadly opposites, representing a ‘double negative’. We saw this in all those Quest stories where a passage between the opposites was one of the ordeals the hero and his companions have to undergo, from Jason’s Argo navigating between the clashing rocks to the ‘straight and narrow’ path to which Christian must keep to survive his perilous journey through the Valley of the Shadow of Death. In the version faced by Odysseus, when he has to sail exactly between Scylla and Charybdis, this emerges as more like a ‘dialectical three’, where each opposite poses a different threat, which is why Odysseus has to run the gauntlet twice. First he steers too near the monster Scylla, the second time too near the whirlpool Charybdis, so that he suffers the ill effects of both. But at least in the end he comes through; unlike Icarus who, ignoring his father’s instruction to keep to the middle position, errs too far in one wrong direction, by flying too high, with the result that he is plunged into the opposite direction and is destroyed. Another explicit echo of the ‘dialectical three’ is the instruction given by his father to Robinson Crusoe that he must pursue a ‘middle station’ in life, not aspiring too high or sinking too low; which is where, after learning all the profound lessons his adventures have taught him, he finally reaches the happy ending of his story.
所有这些不同形式的三法则的共同点是，它们都传达了一个过程的逐步实施，最终将导致某种转变。这既可以是向下的转变，也可以是向上的转变。但大多数时候我们看到它与许多故事的基本主题有关，即成长的过程。它象征着男女主人公为某个极其重要的目标而奋斗的缓慢过程，当这个目标最终实现时，我们可以看到代表着完全的成熟，实现了一种充实和完整的状态。这就是为什么当一个故事走向结局时，我们通常会意识到我们所看到的故事中发生的所有发展需要什么才能达到完成的状态：我们使用这个词有两种含义。首先，它可以意味着一个过程已经完成，就像一个序列已经展开到结论一样。但其次，它可能意味着将某事物的所有组成部分放在一起，形成一个完整的整体。
What all these different forms of the rule of three have in common is that they convey the gradual working out of a process, which will eventually lead to some kind of transformation. This can just as well be a transformation downwards as upwards. But most often we see it related to that essential theme of so many stories, the process of growth. It symbolises the slow process whereby the hero or heroine are striving towards some hugely important goal which, when it is finally achieved, we can see represents full maturity, the realisation of a state of fulfilment and wholeness. And this is why, as a story moves towards its ending, we are usually made aware of that which is needed for all the developments which we have seen taking place in the story to reach a state of completion: a word we use in two senses. Firstly it can mean that a process is complete, as when a sequence has unfolded to its conclusion. But secondly it can mean the putting together of all the component parts of something to make a complete whole.
格林兄弟童话集《三种语言》中的一个故事以非常简单的形式表达了整合所有部分以形成一个整体的需要。主人公是一个看似愚蠢的男孩，连续三年被父亲送去接受教育。第一年后，他回来时除了明白狗吠时在说什么之外什么也没学到。在第二个阶段，他除了青蛙的语言之外什么也没学到。在第三个中，他除了鸟的语言之外什么也没学到。他的父亲对这个男孩如此浪费时间感到愤怒。但这些技能加在一起就构成了一个整体。英雄已经学会了所有三种动物的语言：陆地上的狗、水里的青蛙、空中的鸟——我们认识到，不知何故，这些技能中的每一种最终都必须轮流使用，才能完成他的任务。转型。果然，过了一段时间，英雄就踏上了旅程。他的第一个技能使他赢得了由猛犬看守的巨大宝藏。第二个使他能够解读青蛙的预言，即他将成为教皇，因此他前往罗马城，在那里他发现现任教皇刚刚去世。第三个，当聚集在一起的红衣主教们正在寻找一个信号来选择谁来成功时，两只雪白的鸽子落在英雄的肩膀上（形成一个三）然后在他耳边低声念诵弥撒的话语。英雄就这样被选出了。他将自身的三种元素发展并整合为一个“整体”，结果就是他成为了一个“最高统治者”。
A story which in very simple form presents this need to integrate all the parts in order to make a whole is a little tale from the Grimm brothers collection called The Three Languages. The hero is an apparently stupid boy who is sent off by his father for three successive years to be educated. After the first year he comes back having learned nothing but to understand what dogs are saying when they bark. In the second he learns nothing but the language of frogs. In the third he learns nothing but the language of birds. His father is enraged that the boy has so wasted his time. But together these skills have made a whole. The hero has learned the language of animals in all three elements, the dogs of land, the frogs of water, the birds of the air – and we recognise that somehow each of these skills will eventually have to be used in turn, to complete his transformation. Sure enough, after a while, the hero goes on a journey. His first skill enables him to win a great treasure, guarded by fierce dogs. The second enables him to interpret a prophecy by frogs that he will become the Pope, so he heads for the city of Rome, where he discovers the existing Pope has just died. The third, as the assembled cardinals are looking for a sign as to whom to choose to succeed, causes two snow-white doves to alight on the hero’s shoulder (making a three) and whisper into his ear the words of the Mass. The hero is chosen. He has developed and integrated three elements in himself to make a ‘whole’, and the result is that he becomes a ‘supreme ruler’.
‘四’：完成数
‘Four’: The number of completion
在更深层次上，正如我们在第十二章末尾所看到的，人类想象力无意识地塑造故事的整个方式本身就植根于“三法则”，因为它遵循三重节奏它为故事提供了最基本的原型结构。首先，我们看到中心人物在某种程度上受到了限制，但随后又享受到了有限扩张的阶段。其次，我们看到黑暗力量逼近，施加了更严重的压迫感（“中心危机”），这反过来又导致故事中光明和黑暗元素逐渐走向最终的对决。第三，在故事的高潮中，我们看到了最严重的收缩阶段，这是推翻黑暗、解放光明的逆转的前奏。
At an even deeper level, as we saw at the end of Chapter Twelve, the whole of the way in which the human imagination unconsciously shapes a story is itself rooted in the ‘rule of three’, in that it follows that three-fold rhythm which provides stories with their most basic archetypal structure. Firstly, we see the central figure in some way constricted, but then enjoying a phase of limited enlargement. Secondly, we see the dark power closing in to impose a more severe sense of constriction (the ‘central crisis’), which leads in turn to that gradual constellation of the light and dark elements in the story as they move towards their final showdown. Thirdly, in the story’s climax, we see the most acute phase of constriction of all, as the prelude to that reversal which leads to the overthrow of darkness and the liberation of light.
因此，三法则作为成长和转变的模式，成为我们想象故事方式的基础。但是，我们越接近故事结尾的完成或完整时刻，我们就越有可能以某种方式看到数字四出现。在《灰姑娘》中，女主人公在参加舞会时三次从衣衫褴褛变成盛装。每次她都会衣衫褴褛，灰烬重生，直到她经历了第三个过程，两个丑陋的姐妹试穿拖鞋失败，而她成功了。最后，当故事结束时，我们看到她第四次也是最后一次变回了她漂亮的衣服。2
Thus is the rule of three, as the pattern of growth and transformation, built into the very foundations of the way we imagine stories. But the nearer we get to the moment of completion or wholeness at the end of a story, the more likely we are somehow to see the number four appearing. In Cinderella the heroine is three times transformed from her rags into her finery, as she goes to the ball. Each time she returns to her rags and ashes, until she has gone through a second process of three, whereby the two ugly sisters try on the slipper and fail and she succeeds. Then at last, as the story reaches its conclusion, we see her make the fourth and final transformation back into her fine clothes.2
我们看到许多类似的例子，说明故事结尾时四个人的形象是如何出现的。安徒生笔下的丑小鸭变身后，与三只“天鹅王”一起成为第四只。在《三个火枪手》的结尾，年轻的局外人达达尼昂最终从与可怕的对手德温特夫人的长期战斗中取得胜利，他最终被他的亲密三剑客接受为“第四个火枪手”。在《冬天的故事》和《费加罗的婚礼》中，我们看到喜剧结局的力量不仅是一对夫妇，而是两对夫妇聚集在一起，这样舞台就可以由四个快乐的人物主宰，最后每个人都成为一个其他。在秘密花园里迪肯的救赎人物引发了三个连续的“重生”，玛丽、科林，最后是克雷文先生，所以故事的结束画面是四个人快乐地一起站在花园里。
We see many similar examples of how some image of four emerges at the ending of stories. Hans Andersen’s little ugly duckling, after his transformation, joins the three ‘kingly swans’ to make the fourth. At the end of The Three Musketeers, as the young outsider D’Artagnan finally emerges triumphant from his long battle with his monstrous opponent Lady de Winter, he is at last accepted by his close-knit trio of comrades as ‘the fourth musketeer’. In A Winter’s Tale and The Marriage of Figaro, we see the power of the Comedy ending reinforced by the bringing together not just of one couple but two, so that the stage can be dominated by four joyful figures, all at last at one with each other. In The Secret Garden the redeeming figure of Dickon triggers off three successive ‘rebirths’, those of Mary, Colin and finally Mr Craven, so that the closing image of the story is of all four standing joyfully together in the garden.
故事中的四是完成和完美的数量。即使在故事的早期阶段，我们也经常会潜意识地感觉到四种元素或人物的存在，但它们还没有聚集在一起并展现出它们的潜力，就像《三种语言》的英雄正在用他的三种技能等待着他的到来一样。转变的时刻。在本书的下一部分中，我们将看到数字四作为整体的象征，为人类想象中创造故事的无意识过程提供了多么深刻的基石。
Four in stories is the number of completion and perfection. Even during the earlier stages of the story, we often have a subconscious sense of the presence of four elements or figures which have not yet come together and revealed their potential, as when the hero of The Three Languages is waiting with his three skills for the moment of transformation. And in the next part of the book we shall see just how profoundly the number four as a symbol of totality provides the bedrock for the unconscious processes which create stories in the human imagination.
当然，故事讲述的完成的最高象征是两个人，男主角和女主角，男性和女性的结合，形成一个整体：因为他们被视为以比我们所知的任何事物更基本的方式互补。只有做到这一点，男女主角才能共同继承王国：因为两人终于合二为一了。
But of course the supreme symbol of completion in storytelling is the union of two people, hero and heroine, masculine and feminine, to make a whole: because they are seen as complementary in a more fundamental way than anything we know. Only when this has been achieved can hero and heroine together succeed to the kingdom: because the two have finally become one.
这就是故事讲述的核心所在的完整的幸福结局。这真正代表的是我们本书下一部分的主题。在探索这一点的过程中，我们将看到故事中数字的隐藏意义如何以一种全新的、戏剧性的方式展现出来。3
Such is the complete happy ending which lies at the heart of storytelling. What this really stands for is the theme of the next section of our book. And in exploring this we shall see how the hidden significance of numbers in stories opens up in a wholly new and dramatic way.3
第二部分
完整的幸福结局
Part Two
The Complete Happy Ending
“英雄从黑暗的洞穴中取出的宝藏就是生命：那就是他自己。”
‘The treasure which the hero fetches from the dark cavern is life: it is himself.’
第二部分序言
Prologue to Part Two
《鳄鱼邓迪》（1986 年）是20 世纪 80 年代中期最受欢迎的好莱坞电影之一，影片以一位年轻的美国女记者乘坐直升机戏剧性地抵达澳大利亚偏远内陆地区开始。苏·查尔顿具备了后女权主义时代一位有进取心的职业女性应有的一切：坚强、足智多谋、沉着冷静。此外，她是纽约报纸富有老板的女儿，也是雄心勃勃的年轻编辑的女朋友，从讲故事的角度来说，这使她相当于现代的“国王的女儿”被“王子”追求。
One of the most popular Hollywood films of the mid-1980s, Crocodile Dundee (1986), began with the dramatic arrival by helicopter in the remote Australian outback of a young American woman journalist. Sue Charlton was everything a thrusting professional woman in the post-feminist age was meant to be: forceful, resourceful, self-possessed. In addition she was the daughter of her New York paper’s rich proprietor, and girl friend of its ambitious young editor, which in storytelling terms makes her the modern equivalent of a ‘king’s daughter’ being wooed by a ‘prince’.
女主人公来到了遥远的后方这个尘土飞扬的小定居点，希望采访当地的传奇猎人米克“鳄鱼”邓迪。故事的前半部分展示了他带她进入灌木丛，向她介绍了野外的所有危险，从食人鳄鱼到致命的蛇；带着苦笑地看着她自信的都市形象当面对这些可怕的怪物时就会崩溃。她变成了一个脆弱、无助的女人，向这位技艺高超、幽默感十足的猎人寻求保护。她完全被他迷住了，决定带他回到纽约，向他展示现代城市文明中心的生活。在这里我们遇到了她的男朋友，他不耐烦地蔑视邓迪，将其视为某种原始的、“低于界限”的怪胎。当主人公在城市中漫步时，影片将他作为一个“自然人”的简单、未受破坏、善良的性格力量与他周围城市丛林的不自然状况形成鲜明对比，那里充斥着变态、暴力和吸毒。 ，每个人在道德和精神上都显得畸形。这就是女主角男友所代表的世界。最后，当一场盛大的“线上”派对宣布这对夫妇订婚时，邓迪无法忍受她嫁给这个养尊处优、虚荣的怪物，而这个怪物只符合她外在的职业女性形象。第二天，他消失在城市里，消失在地铁里。在一种震惊的“认出”状态下，女主人公绝望地寻找他，最终下降到地铁站的“低等境界”，在那里她看到他在挤满了人的月台的尽头。在最后的场景中，两人通过在拥挤的人群中传递的口头信息表达了对彼此的爱。人群被这一非凡宣言的精神所吸引，当邓迪踩着人们举起的双手加入她时，人群爆发出热烈的掌声。
The heroine has travelled to this tiny, dusty settlement in the back of beyond in the hope of interviewing a legendary local hunter, Mick ‘Crocodile’ Dundee. The first half of the story shows him taking her out into the bush, introducing her to all the dangers of the wild, from man-eating crocodiles to deadly snakes; and watching with wry amusement as her confident metropolitan persona crumbles when confronted with these fearsome monsters. She becomes a frail, helpless woman, looking for protection to this masterful hunter, with his teasing sense of humour. So completely does she fall under his spell that she decides to take him back to New York to show him life at the centre of modern urban civilisation. Here we meet her boyfriend, who treats Dundee with impatient disdain as some kind of primitive, ‘below the line’ freak. As the hero wanders through the city, the film contrasts his simple, unspoiled, good-hearted strength of character, as a ‘natural man’, with the unnatural state of the urban jungle around him, where perversion, violence and drug-taking rule, and where everyone seems morally and spiritually deformed. Such is the world represented by the heroine’s boyfriend. Finally, as a grand ‘above the line’ party is thrown to announce the couple’s engagement, Dundee cannot bear the thought of her marrying this pampered, vain monster who corresponds only to her outward career-girl persona. Next day he vanishes off into the city, disappearing down a subway. In a state of shocked ‘recognition’, the heroine heads off in desperate search for him, eventually descending into the ‘inferior realm’ of the subway station, where she sees him at the far end of a platform jammed with people. In the closing scene, by way of verbal messages passed along the packed crowd, the two proclaim their love for each other. The crowd is drawn into the spirit of this remarkable declaration, bursting into rapturous applause as Dundee walks on people’s upturned hands to join her. As they finally come together it seems the whole world is at one with their joy.
就情节而言，《鳄鱼邓迪》是喜剧的完美典范——女主角似乎因她的外表注定要嫁给黑暗人物；直到她在关键时刻认识到，在她真正的女性自我中，她属于真正的男子汉英雄。就像之前的无数故事一样，这部电影以古代童话公式的现代版本结尾，“他们结婚了，从此过上了幸福的生活”。
In terms of its plot, Crocodile Dundee is a perfect example of Comedy – with the heroine seemingly doomed by her outward persona to marry the dark figure; until the recognition brings her to see, in the nick of time, that in her true feminine self she belongs with the true manly hero. Like countless stories before it, the film ends with its own modern version of the ancient fairy tale formula, ‘they got married and lived happily ever after’.
我们理所当然地认为这应该为一个故事提供一个完美令人满意的幸福结局，以至于我们几乎不会停下来思考这应该是多么奇怪。显然，在现实生活中，我们并不将婚姻视为结局，当然也不会像许多故事的结局一样，以解决一切问题的方式。它更多的是一个开始，是通往新生活状态道路上的一个里程碑，它不仅会带来回报，还会带来各种新的挑战和问题。
We so take it for granted that this should provide a perfectly satisfactory happy ending to a story that we scarcely pause to reflect on just how odd this should be. Obviously in real life we do not look on marriage as an ending, certainly not in the all-resolving way in which it is presented as the conclusion to so many stories. It is more a beginning, a landmark along the road to a new state of life which may bring not only rewards but also all sorts of new challenges and problems.
然而事实仍然是，在故事中，婚礼的形象，或者至少是一个男人和一个女人在爱的结合状态下聚集在一起，是我们所知道的最完整的幸福结局形式。我们内心深处的某种东西认为这个形象是至高无上的实现的时刻，当一切都最终完整和完整时，当故事的所有不确定性都得到解决时，当它的所有阴影都被解除时，当男女主人公最终到达的地方时彼此合一，与生活合一。
Yet the fact remains that in stories the image of a wedding, or at least the bringing together of a man and a woman in a state of loving union, is the most complete form of happy ending we know. Something deep within us recognises this image as the moment of supreme fulfilment, when everything is at last complete and whole, when all the uncertainties of the story are resolved, when all its shadows have been lifted, and where hero and heroine are at last at one with each other and with life.
我们将在本书的第二部分中看到这个伟大的原型联盟真正代表的是什么，以及为什么如此多的故事将自己塑造成这个中心结论形象。事实上，我们将要看到的是，为了让男女主角实现这一目标，他们必须表现出代表一组特定的品质。只有这样，当我们了解了一个故事要达到圆满结局所必须满足的条件时，我们才能在本书的第三部分中继续前进，看看为什么有这么多故事应该以不同的方式未能得出这样一个解决一切问题的结论。
What we are about to look at in this second part of the book is what this great archetypal union really stands for, and why so many stories shape themselves towards this central concluding image. In fact what we are about to see is how, in order for the hero and heroine to reach this goal, they must be shown as representing a specific set of qualities. Only then, when we have built up a picture of the conditions which must be met for a story to come to a complete happy ending, can we move on, in the third part of the book, to see just why it is that so many stories should, in different ways, fail to reach such an all-resolving conclusion.
实现这一目标的第一步在于最终关注讲故事中的一个关键要素，到目前为止，我们只是间接地触及了这一要素。到目前为止，我们的注意力都集中在故事的结构上。现在我们必须以同样的方式看待故事中出现的人物。正如我们已经看到，看似几乎无穷无尽的故事叙述有多少最终归结为仅在少数情节上提供变化，我们现在同样看到了通过故事叙述而出现的所有角色最终如何归结为仅提供一种变化。一些基本的原型人物。当我们了解每个人物代表什么，以及他们与男女主角的基本关系的本质时，我们就找到了理解故事真正内容的中心关键。
The first step towards this lies in focusing at last on a crucial element in storytelling which we have so far touched on only obliquely. Up to now we have concentrated on the structure of stories. What we must now look at in the same way are the characters who appear in stories. Just as we have seen how much of the seemingly almost infinite variety of storytelling resolves in the end down to providing variations on just a handful of plots, we now similarly see how all the host of characters who teem through storytelling ultimately resolve down to just a handful of basic archetypal figures. As we see what each of these figures stands for, and the nature of their fundamental relationships to the hero or heroine, so we arrive at the central key to understanding what stories are really about.
第13章
黑暗人物
Chapter 13
The Dark Figures
“影子是通往我们个性的大门。就阴影是我们对人格无意识部分的第一个看法而言，它代表了与自我相遇的第一个阶段。
‘The Shadow is the door to our individuality. Insofar as the Shadow is our first view of the unconscious part of our personality, it represents the first stage towards meeting the Self.’
爱德华·惠特蒙特，《象征性探索》
Edward Whitmont, The Symbolic Quest
我们在童年时期特别感兴趣的许多故事都是基于白手起家的情节，这并非偶然，因为没有其他类型的故事能够如此一致地遵循其中心人物从童年到成年的成长过程。我们从一个小英雄或女英雄开始，在故事的早期阶段，他们通常呆在家里，无能为力，受到虐待，而且不快乐。造成这种情况的主要原因是，他们被无情的年长人物残酷地笼罩在阴影之下，这些年长人物以轻蔑和敌意的目光瞧不起他们。大卫·科波菲尔是一个小孤儿，在失去亲生父母后，落入默德斯通先生和默德斯通小姐的手中，他们成了他残暴的继父母。简·爱是一个小孤儿，她在已故母亲的妹妹的监护下痛苦不堪，并受到她年轻表兄弟的蔑视，被暴虐正直的布罗克赫斯特先生送进孤儿院。小孤儿灰姑娘受到邪恶的继母和丑陋的继姐妹的欺凌。约瑟被他的哥哥们鄙视，甚至差点被杀。事实上，如果我们审视一系列白手起家的故事，我们就会发现故事开头围绕着男女主人公的那些黯然失色的黑暗人物是如何分为三个主要类别的：
It is no accident that many of the stories we particularly respond to in childhood are based on the Rags to Riches plot, because no other type of story so consistently follows the growing up of its central figure from childhood into adult life. We begin with a little hero or heroine who, in the early stages of the story, usually at home, is powerless, ill-treated and unhappy. The main reason for this is that they are cruelly overshadowed by heartless older figures who look down on them with contempt and hostility. David Copperfield is the little orphan who, after losing his real parents, has fallen into the clutches of Mr and Miss Murdstone, who become his tyrannical step-parents. Jane Eyre is the little orphan who, miserable in the guardianship of her dead mother’s sister and scorned by her young cousins, is sent off to the orphanage by the tyrannical pillar of rectitude Mr Brocklehurst. The little orphan Cinderella is tyrannised over by her wicked stepmother and ugly stepsisters. Joseph is despised and nearly killed by his older brothers. In fact, if we examine a whole range of Rags to Riches stories, we see how these overshadowing dark figures who surround the hero or heroine at the beginning of the story fall into three main categories:
1. 黑暗之父
1. The Dark Father
首先是年长的男人，他对男女主角拥有某种权力或权威，通常是代替失去的父亲：例如，科波菲尔的继父默德斯通先生；简爱的布罗克赫斯特先生；阿拉丁的魔法师，假装是英雄已故父亲失散多年的兄弟。这个强大、暴虐的人物，以最无情、最自私的姿态代表着强大的男性权威，他就是黑暗之父。
Firstly there is the older man who stands in some position of power or authority over the hero or heroine, usually in the place of a lost father: e.g., Copperfield’s stepfather Mr Murdstone; Jane Eyre’s Mr Brocklehurst; Aladdin’s Sorcerer, who pretends to be the long-lost brother of the hero’s dead father. This powerful, tyrannical figure, representing strong male authority in its most heartless, egotistical guise, is the Dark Father.
2. 黑暗母亲
2. The Dark Mother
其次，还有他的女性对手，年长的女性，她可能会代替失去的母亲：例如科波菲尔的默德斯通小姐；简·爱的里德姨妈；灰姑娘的继母，取代了她真正慈爱的母亲。这个同样无情而压抑的人物就是黑暗母亲。
Secondly there is his female counterpart, the older woman who may stand in place of a lost mother: e.g., Copperfield’s Miss Murdstone; Jane Eyre’s Aunt Reed; Cinderella’s stepmother, who has replaced her real, loving mother. This similarly heartless and oppressive figure is the Dark Mother.
3. 黑暗对手
3. The Dark Rivals
第三，还有一些年轻的角色，与男女主人公性别相同，年龄和地位大致相似，他们也扮演着压迫者的角色：例如，灰姑娘的继姐妹，约瑟夫嫉妒的兄弟。
Thirdly there are the younger characters, of the same sex as the hero or heroine, and of roughly similar age and status, who also act as oppressors: e.g., Cinderella’s stepsisters, Joseph’s jealous brothers.
当男女主人公走向世界时，他们可能会受到社会普遍的蔑视或迫害：例如其他动物对丑小鸭的嘲笑，或者旁观者对衣衫褴褛、粗鲁的卖花小贩的嘲笑。伊丽莎·杜利特尔。但是，随着故事的发展，他们一路上可能遇到的唯一其他有力的竞争者是：
As the hero or heroine go out into the world, they may meet with more general scorn or persecution from society at large: e.g., the other animals who heap derision on the Ugly Duckling, or the bystanders who scorn the ragged, uncouth little flower seller Eliza Doolittle. But, as the story develops, the only other serious contender they are likely to encounter along the way is:
4.黑暗的另一半
4. The Dark Other Half
这是一个异性角色，看似拥有与男女主人公结合的可能性，但实际上是自私自利、奸诈的，或者在其他方面不够充分：例如，波提乏的妻子，试图与男主人公或女主人公结合的妖妇。引诱约瑟夫；简·爱的圣约翰·里弗斯；科波菲尔愚蠢而幼稚的第一任妻子多拉·斯彭洛。
This is a character of the opposite sex who seems to hold out the possibility of union with the hero or heroine, but is in fact self-seeking and treacherous, or in some other way inadequate: e.g., Potiphar’s wife, the Temptress who tries to seduce Joseph; Jane Eyre’s St John Rivers; Copperfield’s silly and infantile first wife Dora Spenlow.
因此，我们看到的所有与白手起家故事中的男女主人公相对立的主要角色都属于这四类之一：黑暗的父亲、黑暗的母亲、黑暗的对手和黑暗的另一半。
All the main characters we see opposed to the hero or heroine of a Rags to Riches story thus fall into one of these four categories: Dark Father, Dark Mother, Dark Rival and Dark Other Half.
在故事的早期阶段，特别是当男女主角还很年轻时，黑暗父亲或黑暗母亲很可能占主导地位。随着中心人物进入成年期，重点可能会更多地转向黑暗的另一半和黑暗的对手，他们现在被更直接地视为男女主角最终目标的竞争对手——就像灰姑娘的最后阶段一样在“拖鞋测试”这一集中，我们看到她的继姐妹希望她们能被选为王子合法的“另一半”。事实上，到了故事的中间，可能只出现了一个黑暗对手，他或她对中心人物构成了一种特殊的威胁，成为了中心人物的一种黑暗的另一个自我。一个例子是简·爱的阴暗对手出现，争夺他疯狂而恶毒的第一任妻子罗切斯特先生的手。在《阿拉丁》中，这种重点的转变在英雄与整个故事中跟踪他的中心黑暗人物的关系变化中得到了特别微妙的体现。最初，当阿拉丁还是个小男孩时，巫师毫无疑问地以黑暗父亲的形象出现。但后来，当英雄长大了，魔法师又出现，把阿拉丁的公主带到了非洲，他已经成为一个典型的黑暗对手，或者黑暗的另一个自我。最后，当他伪装回来试图杀死阿拉丁时，他以更加致命的黑暗对手的身份再次出现。他的死对应着英雄最终出现在光明中并与公主结合。
In the earlier stages of the story, particularly while the hero or heroine are still very young, the Dark Father or Dark Mother are likely to be dominant. As the central figure moves into adulthood, the emphasis is likely to shift more towards the Dark Other Half and the Dark Rivals, who are now seen more directly as competitors for the hero or heroine’s ultimate goal – as in the closing stages of Cinderella where, in the episode of the ‘slipper test’, we see her stepsisters hoping that it is they who will be chosen as the rightful ‘other half’ to the Prince. By the middle of the story indeed there may have emerged just one Dark Rival, posing such a particular threat that he or she comes to stand as a kind of Dark Alter-Ego to the central figure. An example is the emergence of Jane Eyre’s shadowy rival for the hand of Mr Rochester, his crazed and malevolent first wife. In Aladdin this shift of emphasis is expressed with particular subtlety in the hero’s changing relationship to the central dark figure who dogs him throughout the story. Initially, when Aladdin is still a young boy, the Sorcerer appears unmistakably as a Dark Father-figure. But later, when the hero has grown up, and the Sorcerer reappears to snatch Aladdin’s Princess off to Africa, he has become a classic Dark Rival, or Dark Alter-Ego. Finally he reappears as an even more deadly Dark Rival, when he returns in disguise to try to kill Aladdin; and his death corresponds to the hero’s final emergence into the light and union with the Princess.
与这些黑暗人物相比，男女主人公本身就形成了鲜明的对比。他们并不残忍、奸诈、虚荣或自私。在故事的开始，他们作为阴影中的失败者，真正的问题只是迷失了方向，不知道该怎么做。最初，他们似乎受到命运和残酷主宰他们生活的黑暗人物的摆布。这就是为什么在许多白手起家的故事中，他们迈出的第一步就是被某种终极目标所吸引。幸福的结局是他们找到了一个神秘的盟友；要么是“乐于助人的动物”，就像迪克·惠廷顿发现他的猫或阿拉丁发现他的精灵一样；或者是“轻松”的父亲或母亲形象，就像灰姑娘遇到她的仙女教母或大卫·科波菲尔（David Copperfield）和他善良的姨妈贝西·特洛伍德（Betsey Trotwood）一样，后者最终收养了他。故事的前半部分讲述了他们在光明盟友的帮助下，在外表上不断成长并在世界舞台上冒险的过程中取得了长足的进步。到了一半，他们甚至可能似乎已经接近幸福的结局，要么像简·爱那样处于婚姻的边缘，要么像阿拉丁或大卫·科波菲尔那样已经结婚了。
Measured against these dark figures, the hero or heroine themselves provide a complete contrast. They are not cruel, treacherous, vain or self-seeking. Their real problem, at the beginning of the story, as underdogs in the shadows, is simply that they are lost and do not know what to do. Initially they seem at the mercy of fate and of the dark figures who so cruelly dominate their lives. That is why, in so many Rags to Riches stories, the first step towards their being drawn towards some ultimate happy ending is that they find a mysterious ally; either a ‘helpful animal’, as when Dick Whittington finds his cat or Aladdin his genies; or a ‘light’ Father or Mother-figure, as when Cinderella meets her fairy godmother or David Copperfield his kindly aunt Betsey Trotwood, who eventually adopts him. The first half of the story shows them, with the aid of their light allies, making considerable progress as they grow up outwardly and venture out on the stage of the world. They may even, by the halfway stage, seem within reach of a happy ending, either on the brink of marriage, like Jane Eyre, or married already, like Aladdin or David Copperfield.
但随后出现了“中心危机”，他们的世界再次分崩离析。他们失去了自己所珍视的一切，我们看到他们的内心根本还没有真正成熟。故事的后半部分展现的是他们如何发现自己内在的力量，并学会掌控自己的命运。最终的考验，无一例外的都是他们完全依靠自己，依靠自己的力量来对抗黑暗力量。当简·爱与意志坚强的圣约翰·里弗斯进行一场可能致命的斗争时，她的内心受到了罗切斯特神秘声音的启发；但她最终感到“我的力量发挥了作用”。阿拉丁最终完全依靠自己战胜了魔法师的兄弟，精灵明确告诉他不能再指望任何魔法帮助。
But then comes the ‘central crisis’, when their world falls apart again. They lose all that is dear to them, and we see that inwardly they have not yet really matured at all. What the second half of the story shows is how they discover their own inner strengths, and learn to take charge of their own destiny. The final test invariably shows them confronting the dark power entirely on their own, relying on their own strength. Jane Eyre, as she reaches the climax of her potentially deadly struggle with the iron-willed St John Rivers, is inspired by inwardly hearing the mysterious voice of Rochester; but she feels at last that ‘my powers were in play’. Aladdin finally overcomes the Sorcerer’s brother entirely on his own, having been explicitly told by the genie that he can no longer expect any magical help. David Copperfield goes off alone for three years after the death of his wife Dora, initially miserable: but he emerges as a rich and famous writer, with his own position in the world, recognising at last with overwhelming certainty that he must track down his ‘true angel’ Agnes (who for so long has been in the shadow of the monstrous Dark Rival Uriah Heep), to rescue her from the shadows and marry her.
所有这些故事实际上表明，为了实现他们的目标，中心人物最终必须表现出一种特殊的平衡的品质。最初，这些英雄和女主人公对通往最终自我实现的道路持开放态度，因为他们本性善良。他们不会因自我中心而蒙蔽双眼并与世界隔绝。他们并不像周围的敌对人物那样黑暗。尽管这可能会为他们赢得光明盟友的宝贵帮助，但这本身并不足以让他们实现最终目标。最终，作为方程式的另一半，他们必须在另外两个方面证明自己。他们必须学会自立，展现内在的力量和意志力，变得自力更生。其次，他们必须培养理解力。他们必须清楚、准确地看到他们必须做什么。正是这种品质的结合，他们无私地爱着，坚强并且对自己必须做什么有清晰的愿景，这最终使他们与“另一半”完全结合。正是因为他们成为了自己的主人或情妇，我们才终于有信心，当他们成功统治某种“王国”时，他们会明智地、无私地、为了所有人的利益而这样做。1
What all these stories in fact show is that, in order to reach their goal, the central figure eventually has to demonstrate a particular balance of qualities. Initially these heroes and heroines are shown as open to the path which is to lead to their eventual self-realisation because they are good-natured. They are not blinded and isolated from the world by egocentricity. They are not, like the antagonistic figures around them, dark. But although this may win them the invaluable help of their light allies, it is not enough in itself to bring them to their final goal. Ultimately, as the other half of the equation, they have to prove themselves in two other respects. They have to learn to stand on their own feet, to demonstrate inner strength and will power, to become self-reliant. Secondly they have to develop understanding. They have to see clearly and precisely what it is they have to do. It is this combination of qualities, that they are selflessly loving, strong and have a clear vision of what they must do, which finally wins them complete union with their ‘other half’. And it is because they have become master or mistress of themselves, that we finally have the confidence when they succeed to rule over some kind of ‘kingdom’ that they will do it wisely, unselfishly and for the good of all.1
战胜怪物
Overcoming the Monster
在《白手起家》的故事中，黑暗人物被视为在私人和家庭生活的背景下以非常个人的方式与男女主人公相关。为了与《战胜怪物》情节中更神秘的共鸣保持一致，这里代表黑暗力量的人物往往呈现出更宏伟、更可怕的比例。
In the Rags to Riches story, the dark figures are seen as relating to the hero or heroine in a very personal way, in the context of private and family life. In keeping with the more mythical resonances of the Overcoming the Monster plot, the figures who here personify the dark power tend to assume much grander and more terrifying proportions altogether.
尽管如此，此类故事中的许多黑暗人物仍然以熟悉的面貌出现：
Nevertheless, a good many dark figures in such stories still appear in familiar guise:
1.黑暗父亲形象，或暴君：这可能又是一位年长的男人，以某种方式取代了英雄失去的父亲：例如，《杰克与豆秆》中的巨人，杀死了杰克的父亲并篡夺了他的继承权；或拉尔夫·尼克尔比爵士，尼古拉斯·尼克尔比英雄已故父亲的兄弟。另一方面，由于这种类型的故事具有更广泛的影响，这个人物可能以某种更普遍的方式代表父权或男性权威，例如暴虐的国王（例如米诺斯）或其他某种“黑暗统治者”（例如（斯奎尔斯，暴虐的校长；盖斯勒，威廉泰尔传说中暴虐的奥地利总督；罗宾汉故事中的诺丁汉警长）。
1. The Dark Father-figure, or Tyrant: this may again be the older man who has in some way replaced the hero’s lost father: e.g., the Giant in Jack and the Bean-stalk, who killed Jack’s father and usurped his inheritance; or Sir Ralph Nickleby, brother of the hero’s dead father in Nicholas Nickleby. On the other hand, because of the wider ramifications of this type of story, this figure may represent paternal or masculine authority in some more general way, as a tyrannical king (e.g., Minos) or some other kind of ‘dark ruler’ (e.g., Squeers, the tyrannical headmaster; Gessler, the tyrannical Austrian governor in the legend of William Tell; the Sheriff of Nottingham in the story of Robin Hood).
2.黑暗母亲形象，或女巫：这是一个奸诈、无情的老妇人，她不再像《白手起家》故事中那样只想镇压男女主角，而是想杀死他们：例如，邪恶的继母变成了《汉赛尔与格蕾特》中的女巫。但这个类别现在又变得更广泛，包括所有那些在故事中被称为“女性怪物”的强大而致命的年长女性：例如戈尔贡美杜莎；俄狄浦斯的斯芬克斯（字面意思是“绞杀者”），这位女巫将她凶残的阴影投射到底比斯王国；德温特夫人，“法国最有权势的女人”， 《三个火枪手》中达达尼昂的主要对手；罗莎·克莱布 (Rosa Klebb)，詹姆斯·邦德故事《来自俄罗斯的爱》中 SMERSH 的施虐狂头目。
2. The Dark Mother-figure, or Witch: this is the treacherous, ruthless older woman who no longer just wants to repress the hero or heroine, as in Rags to Riches stories, but to kill them: e.g., the wicked stepmother who is transmuted into the witch in Hansel and Gretel. But again this category now runs wider to include all those powerful and deadly older women who feature in stories as ‘the female monster’: e.g., the Gorgon Medusa; Oedipus’s Sphinx (literally ‘the strangler’), the witch who casts her murderous shadow over the kingdom of Thebes; Lady de Winter, ‘the most powerful woman in France’, who is D’Artagnan’s chief antagonist in The Three Musketeers; Rosa Klebb, the sadistic head of SMERSH in the James Bond story From Russia with Love.
3.黑暗对手：例如“犯罪界的拿破仑”莫里亚蒂，他是福尔摩斯唯一智力上的对手，也是福尔摩斯的黑暗另一个自我；与警长凯恩在正午镇上的权威相抗衡的不法团伙。
3. The Dark Rivals: e.g., Moriarty, the ‘Napoleon of Crime’, who, as Sherlock Holmes’s only intellectual equal, is his Dark Alter-Ego; the outlaw gang who are rivals to Sheriff Kane’s authority over the town in High Noon.
但基于这一情节的故事中“怪物”的本质是如此具有潜在的宇宙性——当我们想到牛头怪、洪巴巴、格伦德尔、德古拉等邦德故事中的超级恶棍这样的例子时，他们的野心是控制整个邦德。世界的赎金——他常常只是作为英雄的一种巨大的、膨胀的“黑暗对立面”出现，是黑暗力量最极端形式的怪诞抽象。他是利己主义的化身，贪婪、好斗、毫不掩饰恐惧。他扭曲、奸诈、恶毒至极。在他的身体和道德上的变形，以及他对人类和动物属性的奇怪结合，正如我们所看到的，他绝不是一个完整的、完整的人。他可能有一种奇怪的永恒、超自然的光环，仿佛他代表着某种古老的超自然力量。最重要的是，怪物代表着死亡。他不仅要囚禁英雄，还要杀死他。他以前可能杀过很多人。他的影子可能会遍布整个社会、整个王国，甚至全世界。在开始挑战如此强大的存在时，英雄正在努力成为真正的杰出人物，寻求在许多其他人失败的地方取得成功。
But so potentially cosmic is the nature of the ‘monster’ in stories based on this plot – when we think of such examples as the Minotaur, Humbaba, Grendel, Dracula, the super-villains of Bond stories, with their ambitions to hold the entire world to ransom – that he often appears simply as a kind of huge, inflated ‘dark opposite’ to the hero, a grotesque abstract of the dark power in its most extreme form. He is the very personification of egotism, in all its greedy, aggressive, undisguised horror. He is twisted, treacherous, utterly malevolent. In his physical and moral deformation, and his curious combination of human and animal attributes, he is, as we saw, anything but a complete, whole human being. He may have a strangely ageless, supernatural aura, as if he represents some ancient transcendent power. Above all the monster represents death. He is not just out to imprison the hero but to kill him. He has probably killed many others before. He may spread his shadow over a whole community, a whole kingdom, even over the world. And in setting out to challenge such a stupendously powerful being, the hero is bidding to become truly exceptional, seeking to succeed where many others have failed.
表面上我们可能认为英雄战胜这个怪物所需要的只是足够的勇气和力量。当然，从珀尔修斯到贝奥武甫，从齐格弗里德到詹姆斯·邦德，故事讲述中的伟大怪物杀手从来不缺乏这种男子气概。但当我们了解故事实际上是如何呈现冲突时，就会发现事情的真相还不止这些。
Superficially we might think all that is required for the hero to overcome this monstrous figure is sufficient courage and strength. Certainly the great monster-slayers of storytelling, from Perseus to Beowulf, from Siegfried to James Bond, have never lacked for such manly qualities. But when we come to see how the conflict is actually presented by stories, there is rather more to it.
首先，我们必须将英雄视为光明，与对手的黑暗形成鲜明对比。为此，我们必须看到，他的行为不仅是为了促进自己的利益，也是为了他人的利益；特别是在故事的前半部分，这意味着代表怪物所威胁的更广泛的社区。吉尔伽美什开始挑战洪巴巴，因为这个怪物给他的乌鲁克王国蒙上了阴影；大卫挑战歌利亚，因为巨人正在威胁他的国家以色列；忒修斯漂洋过海去挑战牛头怪和他的主人暴君米诺斯，因为他们正在威胁他父亲的雅典王国；贝奥武夫从自己的国家被召唤来，因为格伦德尔威胁要摧毁赫奥罗特王国；德古拉威胁要成为英格兰的主人；詹姆斯·邦德的恶棍正在威胁英国、西方、全人类；达斯·维德，在星球大战，威胁要将他的暴政强加于整个宇宙。
For a start we have to see the hero as light, in complete contrast to the darkness of his opponent. For this we have to see that he is acting not just to further his own interests but on behalf of others; in particular, in the first half of the story, this means on behalf of the wider community which the monster is threatening. Gilgamesh sets out to challenge Humbaba because the monster is casting a shadow over his kingdom of Uruk; David challenges Goliath because the giant is threatening his country, Israel; Theseus journeys over the sea to challenge the Minotaur and his master, the tyrant Minos, because they are threatening his father’s kingdom of Athens; Beowulf is called in from his own country because Grendel is threatening to destroy the kingdom of Heorot; Dracula is threatening to become master of England; James Bond’s villains are threatening England, the West, all mankind; Darth Vader, in Star Wars, is threatening to impose his tyranny over the entire universe.
一旦我们了解了怪物对世界构成的可怕威胁，以及英雄出发挑战它的勇气，故事的行动所需要的主要内容就是让两个主角更加接近直到他们准备好进行最后的决定性对抗。要么英雄正在走向怪物，要么怪物正在接近他，直到最后英雄完全看到了黑暗的中心：此时怪物的力量似乎如此巨大，以至于很难想象英雄在它的影子有可能打败它。
Once we have established some idea of the terrifying threat the monster poses to the world, and the courage of the hero in setting out to challenge it, the main thing the action of the story requires is simply that the two protagonists should be brought closer to one another until they are ready for the final decisive confrontation. Either the hero is travelling towards the monster, or the monster is approaching him, until at last the hero has the centre of darkness fully in view: at which point the monster’s power seems so immense that it is hard to imagine how the hero in its shadow can possibly defeat it.
但当故事接近高潮时，我们也可能敏锐地意识到怪物正在直接威胁另一个人物，即故事的女主角。当珀尔修斯看到海怪时，他发现它也在向被锁在岩石上的安德洛墨达公主冲来。圣乔治骑马参战，不仅是为了拯救龙威胁的城镇，更是为了拯救被绑在木桩上的公主。德古拉可能正在威胁英格兰，但更具体地说，他把目光投向了英雄的未婚妻米娜，并且差点就消灭了她。诺博士可能威胁到了西方世界的安全，但在故事的结尾更重要的是，他绑住了美丽的海滩女孩蜜奇莱·莱德，让螃蟹活活吃掉。随着星球大战的进展，我们意识到的核心事实故事的高潮是，未来的“宇宙黑暗统治者”达斯·维德囚禁并折磨着莱娅公主。
But as the story nears its climax, we may also become acutely aware that the monster is directly threatening another figure, the story’s heroine. When Perseus sees the sea-monster, he sees that it is also bearing down on the Princess Andromeda, chained to her rock. St George rides into battle not just to save the town the dragon is threatening, but much more particularly the Princess tied to a stake. Dracula may be threatening England, but much more specifically he has set his sights on the hero’s fiancée Mina, and is within an ace of destroying her. Dr No may be threatening the security of the Western world, but what matters more at the end of the story is that he has tied down the beautiful beach girl, Honeychile Rider, to be eaten alive by crabs. The central fact of which we are aware as Star Wars moves towards its climax is that Darth Vader, the would-be ‘dark ruler of the universe’, has imprisoned and is torturing the Princess Leia.
在这样的时刻，无论我们对女主人公的了解多么少，我们都将她视为具有非凡意义和神秘力量的人物。她应该被拯救，这是世界上最重要的事情。事实上，在这种情况下，我们总是本能地认识到三件事。一方面是怪物的冷酷、无情、阳刚的力量。另一方面，与之形成鲜明对比的是，受到威胁的女主人公的柔软、脆弱的女性气质。怪物代表着力量，没有情感的平衡，意味着死亡。女主角代表着感情、代表着生命，却没有捍卫自己的力量。但当英雄介入他们之间拯救她时，我们看到的是他是两者之间的平衡。他不仅坚强、无所畏惧、充满男子气概。为了回应她无助的脆弱，他内心对女主人公所代表的女性气质持开放态度。英雄代表着通过他无私的情感能力而变形并赋予生命的力量。在平衡男性和女性的对立面时，英雄可能是完整的。
At such a moment, however little we may actually know about the heroine, we see her as a figure of extraordinary significance and numinosity. It is the most important thing in the world that she should be saved. In fact there are always three things we instinctively recognise in such a situation. On the one hand there is the hard, heartless, masculine strength of the monster. On the other, in total contrast, is the soft, vulnerable femininity of the heroine who is being threatened. The monster stands for strength without the balance of feeling, which means death. The heroine stands for feeling and life, but is without the strength to defend herself. But what we then see, as the hero comes between them to save her, is that he is a balance between the two. He is not only strong, fearless, utterly masculine. In responding to her helpless vulnerability he is inwardly open to the femininity which the heroine represents. The hero stands for strength transfigured and made life-giving by his capacity for selfless feeling. In balancing the opposites of masculine and feminine, the hero is potentially whole.
这足以解释为什么我们本能地感受到我们对英雄挑战怪物的支持。但这并不能解释为什么他赢得了战斗：这里的原因通常不是他比怪物更强。从纯粹的物理角度来看，怪物很可能是两者中更强的一个，这就是为什么他似乎拥有所有的机会。在直接的肉搏战中，歌利亚随时都会击败大卫。与海怪相比，珀尔修斯可能微不足道。德古拉拥有一整套的魔法力量可供他指挥。英雄最终优越的真正秘密在于怪物有盲点。这就是为什么，真正的英雄可以智取他：正如大卫在与他的弹石保持安全距离的情况下使用歌利亚一样；正如珀尔修斯利用蛇发女妖的头将海怪变成了石头一样；德古拉的英雄知道一件事可以杀死他，那就是一根刺在心脏上的木桩。卢克·天行者之所以能消灭死星，是因为他知道死星巨大结构中的一个弱点。在所有三个夸特马斯故事中，大部分动作都集中在英雄逐渐弄清楚他所面对的神秘怪物的真实本质，这最终为他提供了如何克服它的必要线索。最终让英雄掌控局面的是，到了故事的高潮，他在某些关键方面比怪物看得更清楚，并且清楚地知道自己在做什么。
So much accounts for why we instinctively sense our support for the hero in his challenge to the monster. But it does not account for why he wins the battle: and here the reason is not usually that he is stronger than the monster. In purely physical terms, the monster may well be the stronger of the two, which is why he seems to have all the odds on his side. In straightforward hand-to-hand combat, Goliath would have beaten David any day. Perseus was probably puny compared to the sea-monster. Dracula had a whole array of magic powers at his command. The real secret of the hero’s ultimate superiority is that the monster has a blind spot. That is why, by the true hero, he can be outwitted: as Goliath was by David’s use from a safe distance of his slingstones; as the sea-monster was by Perseus’s use of the Gorgon’s head to turn him to stone; Dracula by the hero’s knowledge of the one thing which could kill him, a stake to the heart. Luke Skywalker can eliminate the Death Star because he knows of the one spot in all its immense structure where it is vulnerable. In all three Quatermass stories, most of the action centres on the hero gradually puzzling out the true nature of the mysterious monster he is up against, which eventually gives him the necessary clues as to how it can be overcome. What ultimately puts the hero in charge of the situation is that, by the climax of the story, he can in some crucial respect see more clearly than the monster, and knows precisely what he is doing.
因此，英雄战胜怪物所需的品质组合与白手起家故事中的男女主角所要求的品质组合完全相同。他必须表明他的行为是无私的，是出于他自己之外的某种原因。他必须表现出自己内心强大、坚定、完全自力更生。最后，作为锁中的最后一把钥匙，他必须拥有卓越的理解力，对自己必须做什么有清晰的愿景。
Thus the combination of qualities which the hero requires to overcome the monster is exactly the same as that required by the hero or heroine of a Rags to Riches story. He has to show that is acting selflessly, in some cause outside himself. He has to show himself inwardly strong, determined, totally self-reliant. In the end, as the final key in the lock, he has to have superior understanding, a clear vision of what he has to do.
当然，在《战胜怪物》的故事中，女主角不仅仅是一个被动的潜在受害者，等待着男主角将其从阴影中拯救出来，而且她自己也扮演着更积极的角色，拯救他并协助他取得胜利。
Of course there are also Overcoming the Monster stories where the heroine is not just a passive potential victim waiting to be rescued from the shadows by the hero, but where she herself plays a much more active part in saving him and assisting him to his victory.
当忒修斯出发前往克里特岛，将他的国家从米诺斯国王和他可怕的生物牛头怪的致命阴影中解放出来时，盘旋在他上方的守护神是爱神阿芙罗狄蒂。奇怪的是，这个细节与如此“男性化”的比赛无关。但当忒修斯到达时，第一个见到他的人是米诺斯的女儿阿里阿德涅，她爱上了他。当忒修斯被带入黑暗迷宫，面对潜伏在迷宫中心的怪物时，阿里阿德涅秘密为忒修斯装备了两件“魔法武器”，这对他的成功至关重要：他可以用来杀死牛头怪的剑，以及能让他找到走出“无路迷宫”的出路的线索。正是公主的勇气和坚强的意志，才使得英雄能够恰当地运用自己的男性力量，赢得了胜利。否则，忒修斯就会陷入无能的境地，而“活跃的”女英雄则赋予了他力量，使他能够清楚地看到自己的出路，再次走向光明。我们再次看到一位英雄，如果他没有对女性开放，他就不会成功完成他的艰巨任务。正是阿里阿德涅自身的爱与内在力量的平衡，使她能够满足忒修斯在绝望困境中所需要的东西，使他能够达到完全男子气概的地位，使他能够掌控局势并看到整体。这样他就能解放自己的国家，并在回国后继任国王。正是这位“主动”的女主人公赋予了他力量，使他能够看清自己的出路，再次走向光明。我们再次看到一位英雄，如果他没有对女性开放，他就不会成功完成他的艰巨任务。正是阿里阿德涅自身的爱与内在力量的平衡，使她能够满足忒修斯在绝望困境中所需要的东西，使他能够达到完全男子气概的地位，使他能够掌控局势并看到整体。这样他就能解放自己的国家，并在回国后继任国王。正是这位“主动”的女主人公赋予了他力量，使他能够看清自己的出路，再次走向光明。我们再次看到一位英雄，如果他没有对女性开放，他就不会成功完成他的艰巨任务。正是阿里阿德涅自身的爱与内在力量的平衡，使她能够满足忒修斯在绝望困境中所需要的东西，使他能够达到完全男子气概的地位，使他能够掌控局势并看到整体。这样他就能解放自己的国家，并在回国后继任国王。正是阿里阿德涅自身的爱与内在力量的平衡，使她能够满足忒修斯在绝望困境中所需要的东西，使他能够达到完全男子气概的地位，使他能够掌控局势并看到整体。这样他就能解放自己的国家，并在回国后继任国王。正是阿里阿德涅自身的爱与内在力量的平衡，使她能够满足忒修斯在绝望困境中所需要的东西，使他能够达到完全男子气概的地位，使他能够掌控局势并看到整体。这样他就能解放自己的国家，并在回国后继任国王。2
When Theseus sets out for Crete to liberate his country from the deadly shadow cast by King Minos and his dreadful creature, the Minotaur, the tutelary deity hovering protectively over him is Aphrodite, the goddess of love. It might seem a detail strangely irrelevant to so ‘masculine’ a contest. But when Theseus arrives, the first person to see him is Minos’s daughter Ariadne, who falls in love with him. When he is led into the dark labyrinth to face the monster which lurks at its heart, it is Ariadne who secretly equips Theseus with the two ‘magic weapons’ which are to prove vital to his success: the sword with which he can slay the Minotaur, and the thread which will enable him to find the way out of the ‘pathless maze’. It is the Princess’s courage and strength of will which have enabled the hero to use properly his own masculine strength to win the victory. Where Theseus would otherwise have been reduced to impotence, it is the ‘active’ heroine who has given life to his strength and enabled him to see clearly his way out again into the light. Again we see a hero who, if he had not been open to the feminine, would not have succeeded in his immense task. It is Ariadne’s own balance of love with inner strength which enables her to supply what Theseus needs in his desperate plight, enabling him to rise to his fully manly stature, allowing him to take charge of the situation and to see whole. Thus is he able to liberate his country, and on his return home to succeed as its king.2
在电影《正午》中，我们再次看到女主角在男主角最需要帮助的时刻拯救了他。当有消息称凶残的米勒团伙即将占领该镇时，凯恩警长似乎完全孤身一人。没有人会与他站在一起抵抗黑暗力量。由于担心最坏的情况，他说服他的新娘离开小镇。随着高潮战斗的开始，他似乎任由亡命之徒摆布。但是，就在一切似乎都已失败的时候，关键的一枪从意想不到的地方响起。受到英雄的勇敢和对他的爱的启发，女英雄回来了，为扭转战局提供了所需的力量。多亏了她的勇气，他才能够完成对‘怪物’的消灭，他们也拯救了‘王国’。
We again see the heroine coming to the hero’s rescue in his desperate hour of need in the film High Noon. When word comes that the murderous Miller gang is approaching to take over the town, Sheriff Kane seems wholly alone. No one will stand with him to resist the dark power. Fearing the worst, he persuades his new bride to leave town. As the climactic battle begins, he seems at the outlaws’ mercy. But, just when all seems lost, a crucial shot rings out from an unexpected quarter. Inspired by the hero’s bravery and her love for him, the heroine has returned, to provide just the element of strength needed to turn the battle. Thanks to her courage, he can complete the routing of the ‘monster’, and between them they have saved the ‘kingdom’.
探索
The Quest
在任何其他类型的故事中，英雄都不会像《探索》中那样面对如此广泛和多样的黑暗人物。但这些又属于熟悉的类别：
In no other type of story is the hero faced by such a range and variety of dark figures as in the Quest. But again these fall into familiar categories:
（1）暴君，或黑暗的父亲形象：奥德修斯在他的大部分旅程中，在他弄瞎了波吕斐摩斯之后，他的主要对手是巨人的残酷复仇的父亲波塞冬，“海洋的黑暗领主”；伊阿宋的主要对手是暴君埃厄忒斯。其他例子还有残忍、专横的法老，他试图将以色列的子孙囚禁在埃及；邪恶的特瓦拉国王，所罗门王矿山失落土地的暴君；Woundwort 将军，沃特希普镇艾弗拉法敌对沃伦的“黑暗统治者” ；
(1) the Tyrant, or Dark Father-figure: Odysseus’s chief opponent through most of his journey, after he has blinded Polyphemus, is the giant’s grimly vengeful father Poseidon, the ‘dark lord of the sea’; Jason’s chief antagonist is the tyrant-king Aetes; other examples are the cruel, overbearing figure of Phaoraoh, who tries to keep the children of Israel imprisoned in Egypt; the evil King Twala, tyrant over the lost land of King Solomon’s mines; General Woundwort, the ‘dark ruler’ over the hostile warren of Efrafa in Watership Down;
(2)女巫，或“黑暗女王”：埃涅阿斯在意大利之旅的大部分时间里，他的主要对手是冷酷复仇的“天国女王”朱诺；另一个例子是加古尔（Gagool），所罗门王矿井中宝藏的古代女巫守护者；
(2) the Witch, or ‘Dark Queen’: Aeneas’s chief opponent through most of his journey to Italy is the grimly vengeful ‘Queen of Heaven’ Juno; another instance is Gagool, the ancient witch-guardian of the treasure in King Solomon’s Mines;
（3）黑暗的对手：当英雄接近他的目标时，这些对手再次变得越来越突出：例如，追求者威胁性地聚集在佩内洛普周围；图尔努斯， 《埃涅阿斯纪》中英雄争夺公主和王国的对手；试图阻止以色列人占领应许之地的居民部落。
(3) the Dark Rivals: these again become increasingly prominent as the hero nears his goal: e.g., the suitors clustered threateningly round Penelope; Turnus, the hero’s rival for the Princess and the kingdom in the Aeneid; the resident tribes who try to prevent the children of Israel from occupying the Promised Land.
然而，当我们谈到第四类时，我们发现出现了一种奇怪的矛盾心理：
When we come to the fourth category, however, we see a curious ambivalence emerging:
(4)黑暗的另一半：这是一个以妖妇的身份在探索故事中扮演特别重要角色的人物。但当我们面对《奥德赛》中的喀耳刻和卡吕普索这样的例子时，很难确定她们是否被视为最初出现的美丽女性，或者是乔装打扮的永恒女巫，拥有超自然力量来囚禁英雄并阻止他追求他的追求（喀耳刻，例如，被明确描述为“女巫”）。同样，当埃涅阿斯爱上狄多时（在他真正的敌人黑暗女神朱诺的怂恿下），她并没有被描绘成一位他可以轻易娶到的年轻公主。她是一个寡居的女王，一个成熟的女人，有能力用她的爱迷惑他，削弱他，让他忘记他应该做什么，那就是继续他的旅程。
(4) the Dark Other Half: this is a figure who, in her guise as the Temptress, plays a particularly prominent part in Quest stories. But when we are confronted by such examples as Circe and Calypso in the Odyssey, it is difficult to pin down whether they are to be regarded as the beautiful women they first appear to be, or as ageless witches in disguise, armed with supernatural powers to imprison the hero and to hold him back from pursuing his quest (Circe, for instance, is explicitly described as ‘a witch’). Similarly, when Aeneas falls in love with Dido (at the instigation of his real enemy, the dark goddess Juno), she is not represented as a young Princess whom he would easily marry. She is a widowed Queen, a mature woman with the power to bewitch him by her love, to enfeeble him and make him forget what he should be doing, which is to proceed on his journey.
换句话说，当我们考虑“黑暗女性”力量可以阻止故事中的英雄实现他的真正目的时，我们看到成熟、迷人的“黑暗另一半”妖妇和奸诈女巫之间开始出现联系或黑暗的母亲形象。当我们考虑到“黑暗男性”力量在英雄的道路上更具侵略性时，我们已经在《阿拉丁》中看到了黑暗父亲的形象如何转变为黑暗对手的形象。同样，在《Watership Down》中，Woundwort 将军不仅仅是一个暴君和“黑暗统治者”：作为对手沃伦的领导者，他是故事英雄黑兹尔的黑暗对立面和竞争对手。在他们多种多样的外表背后，黑暗人物之间的联系比乍看起来更加紧密。
In other words, when we consider the ‘dark feminine’ power which can hold back the hero of a story from his true purpose, we see a link beginning to emerge between the mature, beguiling Temptress as ‘Dark Other Half’ and the treacherous witch or Dark Mother-figure. When we consider the ‘dark masculine’ power standing rather more aggressively in the hero’s path, we have already seen in Aladdin how the figure of the Dark Father can be transmuted into that of a Dark Rival. Similarly in Watership Down General Woundwort is not just a Tyrant and ‘dark ruler’: as leader of the rival warren he stands as an exact dark opposite and rival to the story’s hero Hazel. Behind their variety of outward guises, the dark figures are more closely connected than they at first appear.
当然，我们也开始在探索中比早期类型的故事更明确地看到英雄和他的同伴自己犯下潜在致命错误的情况，使他们受到黑暗对手的摆布——而这些总是由于自己意识的失败。
And of course we also begin to see in the Quest, more explicitly than in the earlier types of story, occasions where the hero and his companions themselves make potentially fatal errors, putting them at the mercy of their dark antagonists – and these invariably result from a failure of their own awareness.
当奥德修斯与他的部下启程回家时，他的男子气概和狡猾是毋庸置疑的。作为一名士兵，他是特洛伊战争的伟大英雄之一。旅程一开始就让人怀疑的是他们的能够清楚地看到他们在路上遇到的所有危险的本质，以及他们是否有自制力和意志力使他们能够抵御这些危险。旅程的本质是他们如何一次又一次地犯下愚蠢的错误，落入一个又一个的陷阱。他们几乎会屈服于所有摆在他们面前的诱惑。首先，他们被吃莲花的乐趣所迷惑和陶醉。然后，他们遇到了第一次真正严重的灾难，因为他们未能认识到波吕斐摩斯居住的岛屿和洞穴的真实性质。当风神给他们装满逆风的袋子时，他们在旅程的早期就能够回到伊萨卡的视线范围内，奥德修斯睡着了，失去了知觉。他的手下被贪婪蒙蔽了双眼，以为袋子里装着宝藏，于是打开袋子，导致了最严重的灾难，当他们被吹到食人巨人 Laestrygonia 的岛上时，他们吃掉了十二艘船中的十一艘。他们被喀耳刻的背叛所愚弄，喀耳刻看似为他们提供盛宴和安逸，但实际上只想将他们当作动物囚禁。他们未能在斯库拉和卡律布狄斯这两个致命的“对立面”之间找到正确的路线，从而在怪物斯库拉面前遭受了进一步的损失。
When Odysseus sets out with his men for home there is no doubt about his manly strength and cunning. As a soldier he has been one of the great heroes of the Trojan War. What does come into doubt as soon as the journey begins is their ability to see clearly the nature of all the dangers they encounter on the way, and whether they have the self-control and willpower which will enable them to resist those perils. The essence of the journey is how again and again they make foolish errors, falling into one trap after another. They fall for almost every temptation placed in their way. To begin with they are beguiled and intoxicated by the pleasures of Lotus-eating. They then meet their first really serious disaster by failing to recognise the true nature of the island and the cave where Polyphemus lives. When Aeolus gives them bags holding all the contrary winds which enable them, still early in the journey, to come back within sight of Ithaca, Odysseus drowses off, losing consciousness. His men, blinded by greed into thinking the bags contain treasure, open them, leading to the worst disaster of all, when they are blown onto the island of the cannibal giants of Laestrygonia, who eat eleven of the twelve shiploads. They are fooled by the treachery of Circe, who seems to offer them feasting and ease, but in fact only wants to imprison them as animals. They fail to steer a proper course between the deadly ‘opposites’ of Scylla and Charybdis, suffering further losses to the monster Scylla.
然而，随着旅程逐渐经历一场又一场灾难和一场又一场濒临灾难的过程，奥德修斯的视野变得更加清晰，自我控制能力也更强。当他们到达拉斯特里戈尼亚岛时，奥德修斯已经足够精明，留在了后面，而其他十一艘船的船员则被骗到了厄运。当他们接下来到达喀耳刻的小岛时，他再次小心翼翼地只派了一半的幸存人员前进，正是这一点使他赢得了赫耳墨斯神的帮助，克服了女巫的力量并解放了她所有的受害者。一旦掌握了风骚女巫，她就会从黑暗转变为光明，成为一个无价的帮手。正是她将奥德修斯送到了地狱，在那里，“聪明的老人”泰瑞西亚斯让他看到了前方还有什么，以及他必须做什么才能完成旅程。他深思熟虑地将自己绑在桅杆上，从而从塞壬的魔力中幸存下来，尽管他无法阻止他的部下违反他的严格命令，不要干扰太阳的牛群，这导致他们被雷电击中。这使得奥德修斯最终孤身一人，因为他这次驶得太靠近另一个“相反”的漩涡卡律布狄斯，他将面临另一场灾难。在这一点上，字面意思是“一切都被冲走了”，他非常感激能够投入美丽的卡吕普索的怀抱，度过一段看似漫长的感官放松和无所事事的时期，这是整个旅程中最长的一段。奥德修斯花了七年的时间才培养出力量和意志力来摆脱卡吕普索的魔咒（在众神之王宙斯的帮助下）。但再次，一旦他下定决心摆脱女巫洞穴中这种不真实、昏暗的存在，她就转而成为一名助手。在经历了最后一次海难的考验后，他被冲到了阿尔西诺斯国王和他的女儿娜乌西卡公主的岛上。在这里，他可以讲述自己所有的冒险故事，仿佛回到了“现实世界”。最后他回到伊萨卡岛开始故事的后半部分。他终于成为了自己的主人，并准备好接受最后的伟大考验。一旦他下定决心摆脱女巫洞穴中这种不真实、昏暗的存在，她就转而成为一名帮手。在经历了最后一次海难的考验后，他被冲到了阿尔西诺斯国王和他的女儿娜乌西卡公主的岛上。在这里，他可以讲述自己所有的冒险故事，仿佛回到了“现实世界”。最后他回到伊萨卡岛开始故事的后半部分。他终于成为了自己的主人，并准备好接受最后的伟大考验。一旦他下定决心摆脱女巫洞穴中这种不真实、昏暗的存在，她就转而成为一名帮手。在经历了最后一次海难的考验后，他被冲到了阿尔西诺斯国王和他的女儿娜乌西卡公主的岛上。在这里，他可以讲述自己所有的冒险故事，仿佛回到了“现实世界”。最后他回到伊萨卡岛开始故事的后半部分。他终于成为了自己的主人，并准备好接受最后的伟大考验。最后他回到伊萨卡岛开始故事的后半部分。他终于成为了自己的主人，并准备好接受最后的伟大考验。最后他回到伊萨卡岛开始故事的后半部分。他终于成为了自己的主人，并准备好接受最后的伟大考验。
Gradually, however, as the journey proceeds through one disaster and near-disaster after another, Odysseus develops clearer vision and greater self-control. Already, by the time they reach the island of Laestrygonia, Odysseus has become canny enough to remain behind, while the crews of the other eleven ships are tricked into their doom. When they arrive next on Circe’s isle, he is again careful to send only half his surviving men ahead, and it is this which allows him to win the help of the god Hermes in overcoming the witch’s powers and liberating all her victims. Once the Witch-Temptress has been mastered, she switches from dark to light to become an invaluable helper. And it is she who sends Odysseus on down to the underworld where the ‘wise old man’ Teiresias gives him a vision of what still lies ahead of him and what he must do to finish the journey. He survives the enchantments of the Sirens by the forethought of having himself strapped to the mast, although he cannot then stop his men from disobeying his strict orders not to interfere with the cattle of the Sun, which leads to their being struck by a thunderbolt. This leaves Odysseus at last all alone, to face yet another disaster when he steers this time too near the other ‘opposite’, the whirlpool Charybdis. At this point, literally ‘all washed up’, he is only too grateful to sink into the embraces of the beautiful Calypso for a seemingly interminable period of sensual ease and doing nothing, the longest episode of the entire journey. It takes Odysseus seven years to develop the strength and willpower to break loose from Calypso’s enchantments (with the aid of the king of the gods, Zeus). But again, once he has developed the manly resolve to free himself from this unreal, twilit existence in the witch’s cave, she switches to become a helper. After a last ordeal by shipwreck, he is washed up on the island of King Alcinous and his daughter, the Princess Nausicaa; and here he can tell the tale of all his adventures, as if he has returned to ‘the real world’. Finally he lands back in Ithaca to begin the second half of the story. He has at last become master of himself and is ready for his final great test.
在故事的所有结尾阶段，奥德修斯在智慧女神雅典娜的帮助下，都能清楚地看到他必须要做的事情，并且完全投入其中。控制他的行动。从表面上看，“在线上”，他的王国仍然胜利地掌握在黑暗势力的手中，那些大嘴、大摇大摆、好色的追求者，他们侵占了他的宫殿，并越来越接近日益绝望的佩内洛普。但现在，在“下等领域”，我们看到奥德修斯伪装成一个卑微的乞丐，无情地穿过岛屿的阴影，走向与他的黑暗对手的最后对抗。我们再次看到故事进入了熟悉的三角高潮：一方面，追求者们霸道的“男性”权力，贪婪、骄傲、好争吵、醉酒、残忍，利用他们的权力只是为了放纵和维护自己的权利；另一方面，追求者的权力是霸道的，贪婪的，骄傲的，好争吵的，醉酒的，残忍的，利用他们的权力只是为了放纵和维护自己的权利；另一方面，无助的佩内洛普，一个被囚禁在阴影中的脆弱女性。最后奥德修斯来到了他们中间，现在他比以往任何时候都更强大，因为他是一个完全掌控自己的人，他确切地知道他必须做什么才能掌控局势。与此同时，他对女性的开放态度以及他所从事的事业远远大于他自己的事业这一事实平衡了他的力量。在高潮时刻，他展现出真正的王者威严，是唯一能够拉开强大弓的人。他的第一支箭干净利落地射穿了十二个斧头，象征着他已经克服了十二次考验：在他和他的目标之间不再有任何东西。在高潮时刻，他展现出真正的王者威严，是唯一能够拉开强大弓的人。他的第一支箭干净利落地射穿了十二个斧头，象征着他已经克服了十二次考验：在他和他的目标之间不再有任何东西。在高潮时刻，他展现出真正的王者威严，是唯一能够拉开强大弓的人。他的第一支箭干净利落地射穿了十二个斧头，象征着他已经克服了十二次考验：在他和他的目标之间不再有任何东西。3他轻蔑地轻松击溃了追求者，永远驱散了黑暗力量。他将他的“另一半”从阴影中解放出来。他终于完整了，可以承担起对王国的合法主权。
Through all the closing stages of the story, Odysseus can see – with the help of the goddess of wisdom Athene – exactly what he has to do, and is entirely in control of his actions. Outwardly, ‘above the line’, his kingdom is still triumphantly in the hands of the dark power, the loud-mouthed, swaggering, lecherous suitors, who infest his palace and press closer and closer round the increasingly despairing Penelope. But now, in the ‘inferior realm’, we see Odysseus, disguised as a humble beggar, moving inexorably through the shadows across the island, towards the final confrontation with his Dark Rivals. Again we see the story coming to the familiar three-cornered climax: on one hand, the overbearing ‘masculine’ power of the suitors, greedy, proud, quarrelsome, drunken, cruel, using their power only to indulge and to assert themselves; on the other, the helpless Penelope, the vulnerable feminine imprisoned in the shadows. Finally into their midst comes Odysseus, now stronger than ever because he is a man completely in charge of himself, who knows exactly what he has to do to take charge of the situation. At the same time his strength is balanced by his openness to the feminine and the fact that he is acting in a cause far greater than just his own. At the climactic moment he reveals himself in his true kingly majesty, as the only man able to bend the mighty bow. He fires his first arrow clean through the twelve axe-heads, to symbolise the twelve ordeals he has surmounted: there is no longer anything between him and his goal.3 With contemptuous ease he puts the suitors to rout, dispelling the dark power forever. He liberates his ‘other half’ from the shadows. At last he is whole and can assume his rightful sovereignty over the kingdom.
这就是探索故事的精髓（尽管没有比奥德赛更完整、更深刻的版本了））。它展示了一位英雄最初“茫然无措”，任凭事件摆布，但经过磨难，他逐渐学会如何引导和训练自己的力量，一心一意地朝着某个目标前进。他必须培养自己的意识并成为自己的主人，直到没有什么可以阻挡他。但与此同时，他必须通过对女性的内在开放来表明他是完全轻松的，这样他就可以利用自己的力量为生活和整体服务。只有当他最终达到这种完全平衡的状态并完全成为他自己时，他才准备好与他的“另一半”结合并获得“王国”。因此，探索与早期情节在同一点结束：因为它们背后的基本推动力是相同的。
Such is the essence of the Quest story (although there is no more complete and profound version than the Odyssey). It shows a hero who is initially ‘all at sea’ and at the mercy of events being gradually tempered by his ordeals into learning how to direct and to discipline his strength single-mindedly towards one end. He must develop his awareness and become master of himself until nothing can stand in his way. But at the same time he must show that he is entirely light, by his inward openness to the feminine, so that he is using his strength in the service of life and of the whole. Only when he has finally reached this state of complete balance and become fully himself is he ready to be united with his ‘other half’ and to claim the ‘kingdom’. Thus does the Quest end at the same point as the earlier plots: because the fundamental impulse behind them all is the same.
航程与回程
Voyage and Return
当航行和返回故事中的男女主人公落入神秘的“另一个领域”时，他们很可能会发现自己身处一个充满了一系列熟悉的黑暗人物的风景中：
When the hero or heroine of a Voyage and Return story fall into the mysterious ‘other realm’, they may well find themselves in a landscape peopled by a familiar range of dark figures:
(1)黑暗父亲形象，或暴君：例如，麦格雷戈先生， 《彼得兔》中花园里可怕的居民，他早些时候杀死并吃掉了英雄的父亲；胡克船长， 《彼得潘》中潜在的岛上暴君；
(1) the Dark Father-figure, or Tyrant: e.g., Mr McGregor, the terrifying denizen of the garden in Peter Rabbit, who has earlier killed and eaten the hero’s father; Captain Hook, the would-be tyrant over the island in Peter Pan;
（3）黑暗女王、女巫或黑暗母体：这是专制的女性版本：例如《爱丽丝梦游仙境》中的红心女王或《爱丽丝镜中奇遇记》中的红心女王；《绿野仙踪》中的邪恶女巫；贝斯特-切特温德夫人是一位富有的老妇人，她是《衰亡》中的英雄保罗·彭尼费瑟的玩物；
(3) the Dark Queen, Witch, or Dark Mother-figure: this is the tyrannical female version: e.g., the Queen of Hearts in Alice In Wonderland or the Red Queen in Through The Looking Glass; the Wicked Witch in The Wizard of Oz; Mrs Best-Chetwynde, the rich older woman who makes a plaything of Paul Pennyfeather, the hero of Decline and Fall;
(3)黑暗对手：例如，鲁滨逊漂流记所遇到的食人者和叛乱者，作为他对该岛主权的对手；在《时间机器》中，阴暗的莫洛克人最终抓住了英雄的小朋友维娜。
(3) the Dark Rivals: e.g., the cannibals and the mutineers whom Robinson Crusoe encounters as rivals to his sovereignty of the island; the shadowy Morlocks who eventually capture the hero’s little friend Weena in The Time Machine.
但正如我们所看到的，关于远航和返回故事，我们首先认识到的是，在早期阶段，甚至比探索中更明显的是，重点放在了男女主人公本身的局限性上。这个情节的更深层次的版本，比如《鲁宾逊漂流记》、《金驴》或《古代水手》，其本质是，我们看到一个年轻人陷入可怕的经历，正是因为他无能、以自我为中心、漠不关心——而且因为他对世界的认识非常有限。这就是让他完全受事件摆布的原因，也是为什么他突然发现自己陷入了完全陌生的“另一个世界”。然后会发生什么？
But the first thing we recognise about a Voyage and Return story, as we have seen, is how in the early stages, even more obviously than in the Quest, the emphasis is put on the limitations of the hero or heroine themselves. The essence of the deeper versions of this plot, such as Robinson Crusoe, The Golden Ass or the Ancient Mariner, is that we see a young man who falls into his horrific experience precisely because he is feckless, self-centred, uncaring – and because his awareness of the world is so severely limited. This is what puts him completely at the mercy of events, and why he suddenly finds himself plunged into the wholly strange ‘other world’. What then happens?
鲁滨逊漂流记漫无目的地环游世界，“一切都在海上”，突然发现自己遭遇了海难。故事的第一部分展示了他逐渐适应自己的新处境，无论是外表还是内心。他慢慢地赢得了对周围环境的控制，也形成了一种全新的生活态度，开始现实地看待自己的立场，不自怜，对自己所拥有的感激不已，学会客观和整体地看待自己。当我们看到他新发现的品质受到考验时，故事的第二部分开始了。他意识到岛上并不孤单，而且岛上正处于来访的食人者的致命阴影之下。因为克鲁索赢得了对自己的理解和掌控，并对无助的受害者产生了保护感，他现在可以充当一个强大的潜在领导者，在阴影中成为反对统治该岛的黑暗势力的光明中心。首先，星期五加入了他的行列，鲁滨逊教育并训练他参加战斗。其次，他们击溃了食人者，释放了更多的受害者。终于，被叛乱分子占领的船抵达了，克鲁索秘密地向船长暴露了自己，船长接受了他的全部权力。鲁滨逊策划了叛乱分子的推翻，并走出阴影，最终成为岛上无可争议的“国王”。现在他可以回家了，成为自己的国王，幸福快乐地度过余生。他们击溃了食人者，释放了更多的受害者。终于，被叛乱分子占领的船抵达了，克鲁索秘密地向船长暴露了自己，船长接受了他的全部权力。鲁滨逊策划了叛乱分子的推翻，并走出阴影，最终成为岛上无可争议的“国王”。现在他可以回家了，成为自己的国王，幸福快乐地度过余生。他们击溃了食人者，释放了更多的受害者。终于，被叛乱分子占领的船抵达了，克鲁索秘密地向船长暴露了自己，船长接受了他的全部权力。鲁滨逊策划了叛乱分子的推翻，并走出阴影，最终成为岛上无可争议的“国王”。现在他可以回家了，成为自己的国王，幸福快乐地度过余生。
Robinson Crusoe, aimlessly drifting round the world, ‘all at sea’, is suddenly pulled up short by the catastrophe of finding himself shipwrecked. The first part of the story shows him gradually coming to terms with his new situation, both outwardly and inwardly. He slowly wins control over his immediate environment, and also develops a wholly new attitude to life, coming to view his position realistically, without self-pity, grateful for what he has, learning to see objectively and whole. The second part of the story begins when we see his new-found qualities being put to the test. He becomes aware that he is not alone on the island and that it is under a deadly shadow cast by the visiting cannibals. Because Crusoe has won understanding and mastery of himself, and feels protectively towards their helpless victims, he can now act as a strong potential leader, becoming in the shadows the centre of light opposition to the dark power which dominates the island. First he is joined by Friday, whom Crusoe educates and trains to fight. Secondly, between them, they rout the cannibals, releasing more victims. Finally the ship which has been taken over by mutineers arrives, and Crusoe secretly reveals himself to the captain who accepts his complete authority. Crusoe masterminds the mutineers’ overthrow and steps from the shadows as at last undisputed ‘king’ of the island. He can now return home, a king over himself, to live happily and prosperously for the rest of his life.
《金屁股》的主人公卢修斯一开始也是一个以自我为中心的年轻流浪者，只对性的自我放纵和神秘学感兴趣——换句话说，他对“爱”有一种黑暗、低等的渴望，他只将爱视为“爱”。身体上的自我满足，以及“秘密知识”，他认为这只是为自己赢得权力的一种方式。正是这两个弱点的结合，导致他因灾难性的误判而陷入了变成驴子的可怕困境。他现在发现自己完全受到那些没有思想、没有感情的人类的摆布，直到他最终，他因必须在马戏团中进行性行为而感到退缩，也知道这将意味着死亡，他被神秘的智慧女神伊西斯奇迹般地释放了。现在他真正的转变开始了。在伊希斯的引导下，通过强烈的自律，他逐渐认识到无私之爱的真正含义，以及被外表和欲望所掩盖的精神现实。他的心和他的眼睛都被打开了。他最初的两种黑暗痴迷都已转化为“光明”版本。故事的结尾表明，作为伊斯兰国的信徒，他是一位纪律严明的人物，与自己和生活融为一体。
Lucius, the hero of The Golden Ass, also begins as an egocentric young drifter, only interested in sexual self-indulgence and the occult – in other words, with a dark, inferior desire for ‘love’, which he sees only in terms of physical self-gratification, and for ‘secret knowledge’, which he sees only as a way to win power for himself. It is precisely a combination of these two weaknesses which, by a catastrophic misjudgement, lands him in the horrific plight of being turned into an ass. He now finds himself entirely at the mercy of mindless, unfeeling human beings until, when he finally recoils from the degradation of having to perform the sexual act in a circus, knowing also that it will mean death, he is miraculously released by the mysterious goddess of wisdom Isis. Now his real transformation begins. Under the guidance of Isis and through intense self-discipline, he gradually comes to recognise the true meaning of selfless love and of that spiritual reality which is obscured to limited consciousness by physical appearances and appetites. His heart and his eyes are opened. His two original dark obsessions have each been transformed into their ‘light’ version. The story ends by showing him, as a devotee of Isis, a strong disciplined figure, at one with himself and with life.
当古代水手，也是一个“在海上”的年轻人，漫不经心地射杀了一直跟随船只的巨大而友善的信天翁时，他犯下了骇人听闻的罪行。他盲目地、无情地、自私地用自己的力量杀死了一个完整的完美象征，一个巨大的、美丽的、神秘的、独立的、完全与自然世界融为一体的东西。他因无情的自我中心而陷入生死存亡的境地，眼睁睁地看着周围的世界失去了生机。他看到那艘幽灵船正在靠近，里面载着“梦魇生死存亡”，可怕的“黑暗母亲”，最终失去了意识——直到最后，他内心深处对生命的某种强烈的冲动促使他对唯一的其他生物发出了祝福。在他的周围，有水蛇在爬行。最后，他开始感受到自己之外的生活，并超越自我的范围“看到整体”。在他的体内和体外，生命再次开始流动。他与它的力量融为一体，现在，他成为了这艘幽灵船的主人，被带回家了。
When the Ancient Mariner, also a young man ‘all at sea’, casually shoots the great, friendly albatross which has been following the ship, he has committed an appalling crime. He has used his strength blindly, unfeelingly, selfishly, to kill a perfect symbol of wholeness, something immense, beautiful, mysterious, self-contained, floating entirely at one with the world of nature. He sinks down into the living death of his unfeeling egocentricity, seeing all the world around him drained of life. He sees the spectral ship approaching, containing the ‘Nightmare Life-in-Death’, the terrible ‘Dark Mother’ of final unconsciousness – until finally some deep impulse for life within him prompts him to croak out a blessing on the only other living creatures around him, the crawling water snakes. At last he is beginning to feel for life outside himself and to ‘see whole’ beyond the confines of his own ego. Both within him and outside him, life begins to flow again. He is at one with its power and, now master of his ghostly ship, he is carried home.
正如我们所看到的，即使是彼得兔的故事，也是一个无能而自私的小英雄，受他无谓的好奇心和肉体欲望的摆布，他最终达到了更高的意识水平并设法“看到整体”，他在一定程度上赢得了对自己命运的有意识的控制，并摆脱了死亡而获得了新生。换句话说，在完全解决的版本中，《远航与归来》的故事仍然受到与早期情节完全相同的基本冲动的影响——除了我们现在更清楚地看到英雄必须从他的一个“中心”移动。个性给另一个人。
Even the story of Peter Rabbit, as we saw, is that of a feckless and selfish little hero at the mercy of his idle curiosity and his physical appetites who, by eventually coming to a higher level of consciousness and managing to ‘see whole’, wins a measure of conscious control over his destiny and escapes from death to life. In other words, in its fully resolved versions, the Voyage and Return story is still shaped by precisely the same fundamental impulse as the earlier plots – except that we are now seeing the hero much more clearly having to move from one ‘centre’ of his personality to another.
所有这些航行和回归故事的本质是，它们表明他们的英雄必须离开有限的“自我意识”的极点，这使他受到他不理解的事件的摆布，走向连接他的另一个极点并给予他解放所必需的更广阔的视野。这种赢得更广阔视野的过程被认为是一个极其重要的过程，不仅对于英雄在有限的物理意义上的生存至关重要，而且至少在鲁滨逊漂流记、卢修斯和古代水手的例子中，对于他的英雄生涯至关重要。与自己和宇宙建立一种全新的关系。从有限的自我意识到更广泛的意识状态的转变意味着他最终以某种神秘的方式与生命本身融为一体。
The essence of all these Voyage and Return stories is that they show their hero having to move away from the pole of limited ‘ego-consciousness’, which puts him at the mercy of events he does not understand, towards that other pole which connects him up to the world outside himself and gives him the wider vision which is necessary for his liberation. This winning of a wider vision is seen to be a process of the most profound importance, essential not just to the hero’s survival in a limited, physical sense but, at least in the instances of Robinson Crusoe, Lucius and the Ancient Mariner, to his reaching an entirely new relationship with himself and the universe. The move from restricted ego-consciousness to the state of wider awareness means that he is at last, in some mysterious way, at one with life itself. And of course no type of story is more centrally dependent on the importance of this transition than Comedy: where coming to ‘see whole’ is what the process of recognition is all about.
第14章
全面看待
女性和男性价值观
Chapter 14
Seeing Whole
The Feminine and Masculine Values
“我仍然被上帝的难题打败了。但我已经清楚了。
‘I’m still defeated by the conundrum of God. But I have the devil clear.’
“那他是谁？”
‘And what’s he?’
“看不到完整。”
‘Not seeing whole.’
约翰·福尔斯、丹尼尔·马丁
John Fowles, Daniel Martin
故事和音乐之间的相似之处之一是，它们都基于一系列心理图像，我们无意识地预期这些图像最终会达到完美的解决点。贝多芬交响曲中的一个乐章是通过一系列的犹豫不决而发展起来的，每个犹豫不决的问题随后都得到了部分解决。只有到了最后，这个模式才完全结束，解决了之前发生的一切。
One of the parallels between a story and a piece of music is that each is based on a sequence of mental images which we unconsciously anticipate will come eventually to a point of perfect resolution. A movement in a Beethoven symphony develops through a succession of irresolutions each of which is then partly resolved. Only at the end does the pattern come to a full close, resolving all that has gone before.
1984 年的几个月里，保罗·斯科特 (Paul Scott) 的拉吉小说四重奏《皇冠上的宝石》的连载让数百万英国电视观众悬而未决。。几周来，这个故事向他们展示了第二次世界大战期间英属印度的复杂生活戏剧，介绍了一大群人物，他们的生活交织在一起，充满了神秘和难以解释的事件。但随着情节的发展，最终最让人感兴趣的是三个角色之间的中央关系网——迷人的女主角莎拉·雷顿和两个年轻人。第一个是梅里克，一位有权有势、心怀怨恨、恃强凌弱的警官，他决意要娶莎拉为妻，是故事中的主要黑暗人物。另一个是英俊强壮但敏感内敛的军官盖伊·佩隆。观众想要回答的问题是：两人谁会赢得女主角呢？黑暗对手会得逞吗？或者说，光明男女主角会以某种方式认识到他们的爱情并走到一起吗？直到长达三个月的连载的最后一幕，莎拉和盖伊终于公开宣布了他们的爱情，才最终给出了答案。此刻，这出极其错综复杂的戏剧，涉及如此多的死亡和次要情节，全部得到了解决，似乎终于让故事中之前发生的几乎所有事情都变得有意义了。
For several months in 1984, millions of television viewers in Britain were held in suspense by a serialisation of Paul Scott’s Raj quartet of novels The Jewel in the Crown. For weeks the story presented them with a complex drama of life in British India during the Second World War, introducing a large cast of characters whose lives were interwoven, full of mysterious and half-explained incidents. But as the plot developed, the one thing which eventually held interest more than any other was the central web of relationships between three characters – the attractive heroine, Sarah Layton, and two young men. The first of these, Merrick, a powerful, resentful, bullying police officer who had set his mind on marrying Sarah was the chief dark figure of the story. The other was a handsome and strong but sensitive and reserved army officer, Guy Perron. The question to which viewers wanted an answer was: which of the two would win the heroine? Would the Dark Rival get his way? Or would the light hero and heroine somehow manage to recognise their love and get together? Only in the closing scenes of the three-month long serialisation was the answer finally given, as Sarah and Guy at last came out into the open and declared their love. At this moment the whole of this enormously intricate drama, which had involved so many deaths and sub-plots, was resolved, in a way which seemed at last to make sense of almost everything that had previously happened in the story.
我们一次又一次地围绕着能够“看到整体”这个难以捉摸的想法对故事的重要性，这个想法贯穿于讲故事的多个层面和多种方式。例如，在黑暗与光明之间的核心斗争中，我们看到了所有怪物、恶棍、悲剧英雄和其他体现黑暗力量的人物的绝对一致的特征。他们在某些关键方面的意识有限。他们有一个盲点；他们很着迷；他们生活在一厢情愿的幻想世界里；他们视野的这种扭曲与他们的自我中心密不可分。故事向我们展示的是，在自我中心的本质上，它只能以一种主观的、受限制的方式看待世界。无论它在哪里占据主导地位，它都会在它周围投下阴影，这也往往会模糊阴影中其他人的视野。
Again and again we have circled round the importance to stories of the elusive idea of being able to ‘see whole’ which runs through storytelling at so many levels and in so many ways. In that central struggle between darkness and light, for instance, we have seen how it is an absolutely consistent feature of all the monsters, villains, tragic heroes and other figures who embody the dark power that they are in some crucial respect limited in their awareness. They have a blind spot; they are obsessive; they live in a fantasy world of wishful thinking; and this distortion of their vision is inextricably linked to their egocentricity. What stories show us is how it is in the very nature of egotism that it can only see the world in a subjective, restricted fashion. Wherever it holds sway it casts around it a shadow which also tends to obscure the vision of everyone else who is in that shadow.
同样，我们也看到，这应该带来更清晰的视野，这是“来到光中”不可分割的一部分。当故事结束时，人物从阴影中被带出来，这是因为他们已经从所有遮挡他们视野的东西中被带出来了。“看到整体”并不意味着他们看到并知道一切。它的真正含义是，他们能够客观地看待每个人、每件事的真实面目。他们已经从自我意识的扭曲中解放出来，进入了一个不同的层面，这让他们有了更清晰的理解。
Equally we have seen how it is an inseparable part of ‘coming to the light’ that this should bring a clearer vision. When, at the end of a story, characters are lifted out of the shadows, this is because they have been lifted out of all that obscures their vision. ‘Seeing whole’ does not mean they see and know everything. What it does mean is that they can see everyone and everything objectively, for what they really are. They have been liberated from the distortions of ego-consciousness, onto a different level which gives them a clearer understanding.
在另一个层面上，这种从长期狭窄的视野到最终到达一个新的视角中心的转变，在各个方向上提供不间断的视野，直接关系到我们自己从故事中获得的最基本的满足感之一。没有什么比渴望到达最后一切都会得到解释的故事更能激发我们对故事的兴趣了。渐渐地，我们被深深地卷入了一个模糊和不确定的纠结之中，在我们的头脑中产生了一种迫切需要解决的紧张感。我们渴望知道这一切将会如何发展；男女主角最终能否走到一起；最后意想不到的转折会突然让一切“变得正确”。在故事的早期阶段，可能会引入各种细节，这些细节在当时看来令人费解，其意义当时并不明确。但如果故事构建得当，当故事到达结论时，每个故事的要点和目的都会被揭示出来。就像在一首音乐中一样，我们终于从犹豫不决的纠结中解脱出来，到达了完整的模式；在那里我们可以看到一切最终如何在整体中发挥其作用。没有任何类型的故事比喜剧更巧妙地阐释了这一点，从令人困惑的默默无闻到一切都变得清晰的最终阶段的转变内置于情节的结构中。当它得出结论时，每份遗嘱的要点和目的都已被揭示。就像在一首音乐中一样，我们终于从犹豫不决的纠结中解脱出来，到达了完整的模式；在那里我们可以看到一切最终如何在整体中发挥其作用。没有任何类型的故事比喜剧更巧妙地阐释了这一点，从令人困惑的默默无闻到一切都变得清晰的最终阶段的转变内置于情节的结构中。当它得出结论时，每份遗嘱的要点和目的都已被揭示。就像在一首音乐中一样，我们终于从犹豫不决的纠结中解脱出来，到达了完整的模式；在那里我们可以看到一切最终如何在整体中发挥其作用。没有任何类型的故事比喜剧更巧妙地阐释了这一点，从令人困惑的默默无闻到一切都变得清晰的最终阶段的转变内置于情节的结构中。
On another level, this transition between a long period of constricted vision and finally coming to a new centre of perspective which gives an uninterrupted view in all directions relates directly to one of the most fundamental satisfactions we ourselves get from following a story. Few things hold our interest in a story more compulsively than the desire to arrive at that point at the end where everything will finally be explained. Gradually we have been drawn deeper and deeper into a tangled knot of obscurity and uncertainty, setting up a tension in our minds which cries out for resolution. We long to know how it is all going to turn out; whether the hero and the heroine will finally be united; what unexpected twist at the end will suddenly make everything ‘come out right’. In the earlier stages of a story all sorts of details may have been introduced which at the time seem puzzling, their significance not clear at the time. But if the story is properly constructed, by the time it reaches its conclusion the point and purpose of each will have been revealed. As in a piece of music, we have finally been lifted clear from the tangle of irresolution to the point where the pattern is complete; where we can see how everything in the end played its part in the whole. And no type of story illustrates this more subtly than Comedy, where the transition from baffling obscurity to a final phase of illumination when all is made clear is built into the very structure of the plot.
喜剧
Comedy
喜剧与其他类型故事的区别有以下三点。首先，与任何其他类型的情节相比，喜剧不仅关注中心人物的个人命运，还关注一群人之间的关系网络。最初，我们看到这些关系都打结了，因为一些根本性的问题出现了；最后，我们看到了“解开”，每个人最终都与其他人建立了正确的关系。
Three things mark out Comedy from other types of story. The first is that, more insistently than any other type of plot, Comedy is concerned not just with the individual fate of its central figure but with the network of relationships between a group of people. Initially we see these relationships all knotted up because something fundamental has gone wrong; at the end we see the ‘unknotting’ where everyone has at last been brought into the right relationship with everyone else.
喜剧的第二个独特之处在于，除了在极少数情况下，黑暗人物仍不甘心外，它向我们展示了故事中所有角色在最后都被带入光明的程度。从这个意义上说，喜剧是最理想化的情节（尽管在这方面它与重生重叠），因为它以一个完全统一的世界的愿景结束，没有人被排除在外。
The second unique feature of Comedy is the extent to which, except on those rare occasions where a dark figure remains unreconciled, it shows us all the characters in the story being brought at the end into the light. In this sense Comedy is the most idealised of the plots (although in this it overlaps with Rebirth) because it ends on a vision of a world entirely at one, from which no one is excluded.
喜剧的第三个显着特征是它强调这样一个事实：在故事的大部分时间里，每个人都存在分歧，根本原因是有一些非常重要的事情他们不知道或看不到；正如最终奇迹般地聚集在一起是因为发现了一些非常重要的东西。正如亚里士多德所说，“认识是从无知到知识的转变”。而这种认识正是让每个人都能够建立一种全新的、完全不同的彼此关系。因为每个人终于可以看得清楚、完整，因为他们终于发现了自己和彼此到底是谁，谁属于谁，也能正确地感受到。每个人终于“看到了光明”，从而获得了解放，做真实的自己，更深层次的自我；正因为如此，每个人最终都以个人和集体的完整形象幸福地与其他人融为一体。
The third distinguishing mark of Comedy is the emphasis it places on the fact that the fundamental reason why everyone is at odds through most of the story is that there is something very important that they do not know or cannot see; just as the miraculous coming together at the end results from the fact that something very important has been discovered. As Aristotle puts it, ‘recognition is the change from ignorance to knowledge’. And this recognition is precisely what allows everyone to come into a new and quite different set of relationships to one another. Because everyone can at last see clearly and whole, because they have at last discovered who they and each other really are, and who belongs with whom, they can also feel properly. Everyone has at last ‘seen the light’ and thus been liberated to be their true, deeper selves; and for this reason everyone ends up happily integrated with everyone else in an image of complete individual and collective wholeness.
换句话说，就像古老的“前后”广告一样，喜剧向我们展示了人性两种基本状态之间的对比。我们被引入一个小世界——一个家庭、一群家庭、一座城市、一个王国——它已经陷入了黑暗力量的阴影之下。黑暗可能主要源自某个统治人物盲目而无情的自我中心主义。但结果是每个人都受到了影响：每个人都在沮丧和困惑的迷雾中跌跌撞撞，彼此分裂、模糊，与生命的流动隔绝。人们无法清晰或完整地看到这一事实，以及他们彼此之间无法和谐相处，这一事实被视为同一基本状况的症状，密不可分地联系在一起。
In other words, like an old ‘Before and After’ advertisement, Comedy shows us the contrast between two fundamental states of human nature. We are introduced to a little world – a household, a group of families, a city, a kingdom – which has fallen under the shadow of the dark power. The darkness may emanate primarily from the blind and heartless egotism of one dominant figure. But the result is that everyone is affected: everyone is stumbling about in a fog of frustration and confusion, divided off and obscured from one another, cut off from the flow of life. The fact that people cannot see clearly or whole and the fact that they cannot relate harmoniously to one another are seen as inextricably bound together as symptoms of the same fundamental condition.
但在表面之下的某个地方，隐藏在社区普遍意识状态之外的地方，事件正在酝酿之中，即将揭露的真相突然从阴影中浮现出来。自我中心的扭曲压力被消除，黑暗被驱散，每个人都能“看到光明”；拼图的每一块都自然地就位。团结的画面就完成了。生命之流才能畅通无阻。
But somewhere below the surface, hidden from the community’s prevailing state of consciousness, events are constellating towards the moment when the revealing truth can suddenly emerge from the shadows. The distorting pressure of egocentricity is removed, the darkness is dispelled, everyone can ‘see the light’; and every piece of the jigsaw falls naturally into place. The picture of unity is complete. The current of life can flow unimpeded.
深色男性，浅色女性
Dark masculine, light feminine
正如我们所看到的，大多数喜剧分为两类：故事中主要的黑暗人物与男女主人公以及一般生活的流动相对立的喜剧；以及那些主要的黑暗人物是英雄本人（更不用说女主角）的故事。
As we have seen, most comedies fall into two groups: those where the chief dark figure of the story stands opposed to the hero and heroine, and to the flow of life in general; and those where the chief dark figure is the hero himself (much less often the heroine).
在第一类故事中，绝大多数的黑暗人物都是黑暗之父或暴君：一些有权有势的年长者，通常是一家之主，他被某种令人眼花缭乱、令人窒息的痴迷所控制，这种痴迷使人阴影笼罩着他周围的每个人，尤其是那些他反对结合的年轻恋人。我们在整个喜剧史上都看到了这个熟悉的人物，从阿里斯托芬的《普罗克利翁》到乔治·艾略特的卡苏邦先生，从新喜剧的“无情之父”到莫里哀的那些人，从莱昂特斯国王和阿尔马维瓦伯爵到沃德豪斯的世界和马克思兄弟。
Of stories in the first category, again the great majority are those where the dark figure is a Dark Father or Tyrant: some powerful older man, usually the head of a household, who is in the grip of some blinding, deadening obsession which casts a shadow over everyone around him, and usually in particular over the young lovers whose union he is opposing. We have seen this familiar figure running all through the history of Comedy, from Aristophanes’s Procleon to George Eliot’s Mr Casaubon, from the ‘unrelenting fathers’ of New Comedy to those of Molière, from King Leontes and Count Almaviva to the worlds of Wodehouse and the Marx Brothers.
我们很少在喜剧中看到黑暗母亲的形象，但在我们看到的地方，她通常扮演与黑暗父亲一样的暴虐角色，总是在维护“男性”礼仪和社会秩序的名称：例如，布拉克内尔夫人，《认真的重要性》中格温多伦的“无情的母亲” ，或者达西的专横、势利的姨妈凯瑟琳·德·鲍尔夫人，她试图阻止他与伊丽莎白·贝内特结婚。傲慢与偏见。
Only rarely in Comedy do we see the Dark Mother-figure, but where we do she usually plays much the same tyrannical role as the Dark Father, invariably in the name of upholding the ‘masculine’ proprieties and the social order: e.g., Lady Bracknell, Gwendolen’s ‘unrelenting mother’ in The Importance of Being Earnest, or Lady Catherine de Bourgh, Darcy’s imperious, snobbish aunt who tries to prevent him marrying Elizabeth Bennett in Pride and Prejudice.
一个更常见的人物，特别是在后来的喜剧中，是女主人公手上的黑暗对手。例如，《汤姆·琼斯》中的布利菲尔、 《丑闻学校》中的约瑟夫·斯表面、《名歌手》中的贝克梅瑟、《玫瑰骑士》中的奥克斯男爵（尽管他是一位年长的男人，也是女主人公父亲的朋友，但他也与黑暗父亲有联系）。
A rather more frequent figure, particularly in later Comedy, is the Dark Rival for the heroine’s hand; e.g., Blifil in Tom Jones, Joseph Surface in The School for Scandal, Beckmesser in Die Meistersinger, Baron Ochs in Der Rosenkavalier (although as an older man and a friend of the heroine’s father, he is also linked to the Dark Father).
我们同样看到了黑暗另一半的例子。一个明显的例子是汤姆·琼斯饰演的潜在诱惑者贝拉斯顿夫人，她是一位成熟、迷人的妖妇（尽管，作为一位年长的已婚妇女，她再次表现出与“黑暗母亲”的联系）。简·奥斯汀的小说中有几个这样的例子，比如乔治·威克姆、亨利·克劳福德、威廉·埃利奥特：都是虚假的、肆无忌惮地玩弄女主人公的感情。《战争与和平》中还出现了另外一对引人注目的例子：试图绑架娜塔莎的冒险家阿纳托尔·库拉金（Anatole Kuragin）和他的妹妹海伦（Helene），这位气势磅礴、无情的妖妇，嫁给了富有而笨拙（而且没有母亲）的皮埃尔，然后抛弃了皮埃尔。一个更现代的例子是《雨中曲》中令人难以忍受的莉娜·拉蒙特。
We similarly see examples of the Dark Other Half. An obvious instance is Tom Jones’s would-be seducer Lady Bellaston, a mature, beguiling Temptress (although, as an older married woman, she again shows links to the ‘Dark Mother’). The novels of Jane Austen contain several examples, such as George Wickham, Henry Crawford, William Elliot: all false, unscrupulous triflers with the heroine’s affections. Another striking pair of examples appear in War and Peace: Anatole Kuragin, the adventurer who tries to abduct Natasha, and his sister Helene, the imposing, heartless Temptress who marries, then abandons the rich and awkward (and motherless) Pierre. A more modern instance is the intolerable Lina Lamont in Singin’ In The Rain.
除了少数例外，喜剧中的黑暗人物绝大多数都是男性。它们代表了男性气概的冷酷、无情、消极的一面，从而将代表真实情感和生命承诺的女主人公牢牢地置于对立的两极和阴影中。为了让生活取得胜利，必须认识到“女性”的真正价值并将其提升到光明中，正如古代世界新喜剧中经常象征的那样，当时地位卑微的女主人公被忽视和蔑视。最终发现出身高贵，因此具有巨大的价值。最终，只有当那些笼罩在阴影中的黑暗人物——比如一个无情的父亲——通过发现自己内心的新的意识和感觉中心而从以自我为中心的监狱中解放出来时，这才会发生；要么原形毕露，被推下舞台。
With a handful of such exceptions, the dark figures in Comedy tend overwhelmingly to be male. They represent the hard, unfeeling, negative side of masculinity in such a way as to place the heroine, representing true feeling and the promise of life, firmly at the opposite pole and in the shadows. For life to triumph, it is the true value of the ‘feminine’ which has to be recognised and lifted up into the light, as was so often symbolised in the New Comedy of the Ancient World when the disregarded and scorned heroine of lowly status was finally discovered to be of high birth and therefore of great value after all. And ultimately this can only happen when the overshadowing dark figure – such as an unrelenting father – is either liberated from his egocentric prison by discovering a new centre of awareness and feeling within himself; or is exposed in his true colours and pushed off the stage.
在喜剧类型中，英雄本人就是主要的黑暗人物，同样的规则也适用。回到米南德，我们看到男主人公冤枉了女主人公，并因某种误判而与她产生了分歧。由于他的意识受到以自我为中心的限制，他在某种程度上未能认识到情况的真相。他以一种强硬、无情的方式做出反应，拒绝“女性化”——通常以“男性化”礼节和维护道德秩序的名义。最终他被抓了。要么像《冬天的故事》中的里昂提斯那样，他发现自己冤枉了女主人公，认为她犯了罪，而事实上她是无辜的。或者，就像《一报还一报》中的安吉洛一样，他也被揭露为一个自以为是的伪君子，因为他犯下了与他指控别人相同的罪行。
In the type of Comedy where the hero himself is the chief dark figure, the same rules apply. Right back to Menander, we see the hero who has wronged the heroine and become divided from her by some misjudgement. Through an egocentric limitation on his awareness, he has failed in some way to recognise the truth of the situation. He reacts in a hard, unfeeling manner, rejecting the ‘feminine’ – often in the name of ‘masculine’ propriety and upholding the moral order. And eventually he gets caught out. Either, like Leontes in The Winter’s Tale, he discovers that he has wronged the heroine by assuming that she has committed a crime when in fact she was innocent. Or, like Angelo in Measure for Measure, he is also exposed as a self-righteous hypocrite for having committed the same crime of which he has accused someone else.
最终，他只能通过发现自己人格的更深层中心，才能摆脱自己为自己制造的陷阱，这既能让他重新接触到真实的感觉，又能拓宽他的感知，使他能够再次正确、完整地看待世界。在这里我们再次看到“女性价值”是如何必须发挥作用才能挽回局面代表着这两件事，密不可分地交织在一起；既是对他人的真实感受，也是更广泛的认识，从而能够真正理解、了解整体情况以及一切事物如何正确联系起来；而“黑暗男性能量”则恰恰相反，缺乏真实的情感，无法全面看待事物。
Ultimately he can only be extricated from the trap he has made for himself by discovering that deeper centre of his personality which both brings him back in touch with true feeling and widens his perception so that he can see the world straight and whole again. And here we again see how the ‘feminine value’ which must be brought into play to redeem the situation represents both these things, inextricably intertwined; both true feeling for others and the wider awareness which permits true understanding, an appreciation of the totality of the situation and how everything is properly connected; whereas the ‘dark masculine’ represents precisely the opposite, a lack of true feeling and an inability to see things whole.
当我们看一些把女主人公自己描绘成主要黑暗人物的喜剧时，我们会发现她变得黑暗的真正原因是她没有接触到自己内心真正的女性气质，正如我们在《凯瑟琳娜》中看到的那样， 《驯悍记》中脾气暴躁、好斗的泼妇，或者专横、爱管闲事的艾玛·伍德豪斯，或者上流社会富有、被宠坏的特雷西·洛德。每个人都被囚禁在本质上相同的艰难、以自我为中心的状态的变体中。他们既没有感受到真实的感受，也没有正确地意识到周围的真实情况（更不用说他们在其他人眼中的形象了）。他们每个人都处于一种自欺欺人的状态。她们需要被驯服、戏弄或解冻，进入柔软、温暖、充满活力的女性气质状态，这是她们隐藏在坚韧、脆弱的外表之下的真正的深层自我。只有在这一点上，当她们变得真正女性化，直视世界（就像鳄鱼邓迪的女主角一样）时，她们才能最终认识到谁是她真正的“另一半”。
When we look at the handful of comedies which show the heroine herself as the chief dark figure, we see how the very reason she has become dark is that she is not in touch with the true feminine within herself, as we see in Katherina, the ill-tempered, aggressive virago in The Taming of the Shrew, or the bossy, interfering Emma Woodhouse, or the rich, spoiled Tracy Lord in High Society. Each has become imprisoned in a variation on essentially the same hard, egocentric state. They are neither alive to true feeling nor properly aware of the true situation around them (let alone how they look to everyone else). They are each in a state of self-deception. They need to be tamed, teased or thawed out into the soft, warm, alive state of femininity which is their true deeper self, buried under their tough, brittle exterior. Only at this point, when they become truly feminine, seeing the world straight (as with the heroine of Crocodile Dundee) can each recognise at last who is her true ‘other half’.
当然，也有一些喜剧，例如《红男绿女》或《四个婚礼和一个葬礼》，其中根本没有明显占主导地位的黑暗人物。在《仲夏夜之梦》中，笼罩所有人物的黑暗只不过是完全混乱，基于这样一个事实，没有人能看清事物，尽管即使在这里，也只有男人感到困惑。两位女主角仍然是坚定不移的爱情典范。真正的女性永远是坚定不移的灯塔。1
Of course there are also those comedies, such as Guys and Dolls or Four Weddings and a Funeral, where there is no obviously dominant dark figure at all. In A Midsummer Night’s Dream the darkness which engulfs all the characters is simply that of total confusion, based on the fact that no one can see things straight, although even here it is only the men who get confused. The two heroines remain models of firm, unswerving love. The true feminine is always a beacon of constancy.1
女性价值
The feminine value
因此，我们看到出现的是一种基本的极性，这对于讲故事的结构至关重要。其中一极是黑暗的力量，以自我、有限的意识和无法看到整体为中心，造成混乱、分裂，并最终导致死亡。另一方面是女性的力量，以无私的感觉和看到整体的能力为中心，建立联系，治愈分裂和生命。在最深层次上，故事所呈现的全部永恒冲突正是围绕着这种对立展开的：从某种意义上说，正是这一点使轻快的女主人公成为讲故事的终极试金石。因为她首先也是最直接地体现了女性的价值。她最经常也最明显地必须从阴影中走出来，才能获得成功。故事的圆满结局。这不仅适用于那些坚强的英雄必须拯救手无寸铁的女主角的故事，也适用于那些“活跃”的女主角必须从阴影中出现来拯救无助的英雄的故事，就像忒修斯的神话一样，《简·爱》、《正午》、《威尼斯商人》、《费德里奥》。
What we thus see emerging is a fundamental polarity which is crucial to the structure of storytelling. At one pole is the power of darkness, centred on the ego, limited consciousness and an inability to see whole, making for confusion, division and ultimately death. At the other is the power of the feminine, centred on selfless feeling and the ability to see whole, making for connection, the healing of division and life. At the deepest level, it is around this opposition that the whole of the eternal conflict presented by stories revolves: and it is this which, in a sense, makes the light heroine the ultimate touchstone of storytelling. For it is she who above all and most directly embodies the feminine value. It is she who most often and most obviously has to be brought forth from the shadows in order for the complete happy ending to a story to be achieved. And this applies not just to those stories where a strong hero has to rescue a defenceless heroine, but just as much to those where an ‘active’ heroine has to emerge from the shadows to rescue a helpless hero, as in the myth of Theseus, Jane Eyre, High Noon, The Merchant of Venice, Fidelio.
但是，正如我们在前一章中已经探讨过的那样，为了让任何故事达到女主人公能够出现或从阴影中解放出来并产生幸福结局的程度，还需要另一个重要的因素来建立等式完全的。我们清楚地看到了这一点，尽管悲剧情节给我们带来了消极的启发。
But, as we have already explored in the previous chapter, in order for any story to reach that point where the heroine can emerge or be liberated from the shadows to produce the happy ending, there is another vital ingredient which is required to make the equation complete. And we see this brilliantly, if negatively illumined by the plot of Tragedy.
黑暗反转
The Dark Inversion
出于显而易见的原因，悲剧在基本情节中占有独特的地位，因为从某种意义上说，它颠倒了其他主要故事类型的基本模式。所有这些其他类型的故事都有其“黑暗”版本，我们将回到这些版本。但悲剧是唯一的基本情节，主要关注的是当男女主人公无法聚集必要的积极品质来从阴影中夺取赋予生命的女性价值，而是变得如此认同黑暗力量而无法逃脱时，会发生什么从中。因此，它显示了以消极形式发生的转变过程：男女主人公被进一步向下引导，进入黑暗的禁锢，而不是向上并远离它。
For obvious reasons, Tragedy occupies a unique place among the basic plots, because in a sense it turns the essential pattern of the other main types of story upside down. All these other types of story have their ‘dark’ versions, which we shall return to. But Tragedy is the only basic plot which is primarily concerned with showing what happens when the hero or heroine cannot muster the positive qualities necessary to wrest the life-giving feminine value from the shadows, but become so identified with the dark power that they cannot escape from it. It thus shows the process of transformation taking place in, as it were, a negative form: the hero or heroine are led ever further downwards and into the dark imprisonment, rather than upwards and away from it. And one of the corollaries of this is that we see the landscape familiar from other types of story appearing strangely inverted.
当悲剧英雄或女主人公的光明部分在根深蒂固的黑暗阴影下越陷越深，他们变得越来越以自我为中心，缺乏对他人的感情时，我们就会看到他们的判断力、他们的能力如何。看到世界正直而完整，变得越来越阴暗。事实上，他们的视野变得如此扭曲，以至于他们实际上看到了一切与其真实价值相反的东西。光明价值观日益成为他们的威胁；轻松的人物似乎只是他们以自我为中心的欲望的障碍。正如《麦克白》中的《女巫》所说，“公平就是犯规，犯规也是公平”；或者正如奥尔巴尼在《李尔王》中所说的那样，“智慧和善良对于卑鄙的人来说似乎是卑鄙的”。我们看到这种倒置最明显的例子之一是男女主角周围的人物的本质，他们最有可能将他们视为前进道路上的障碍。
As the light part of the tragic hero or heroine falls further and further under the shadow of the darkness which has taken root in them, and they slip into ever greater egocentricity and lack of feeling for others, we see how their judgement, their ability to see the world straight and whole, becomes increasingly clouded. In fact their vision becomes so distorted that they actually come to see everything at the reverse of its true value. The light values increasingly become a threat to them; light characters come to seem only as obstacles to their egocentric desires. As Macbeth’s Witches have it, ‘fair is foul and foul is fair’; or as Albany puts it in King Lear, ‘wisdom and goodness to the vile seem vile’. And one of the ways in which we see this inversion most strikingly exemplified is in the nature of the figures around the hero or the heroine whom they are most likely to see as hindrances in their path.
在前面的章节中，我们看到了某些人物最有可能成为悲剧英雄堕落过程中的受害者。事实上，我们现在可以看到这些角色是如何与其他类型的故事中最有可能以黑暗人物出现的角色相对应的：除了在这里，英雄本身是黑暗的，他们却表现为光明。例如，我们所看到的最有可能成为悲剧英雄受害者的两个男性人物中的第一个是“好老人”，一个国王或父亲形象，就像《麦克白》中的邓肯或《唐璜》中的骑士团长。他是暴君或黑暗父亲形象的光明版本。同样，悲剧英雄可能会攻击那些对他来说特别重要的人他的对手，如班柯——英雄的光荣对手或轻微的另一个自我，他来困扰他，作为对他罪行的谴责。
In an earlier chapter we saw how there were certain figures who were most likely to become the victims of the tragic hero on his downward course. In fact we can now see how these correspond to the characters who, in other types of story, are most likely to appear as dark figures: except that here, where the hero himself is dark, they appear as light. For instance, the first of the two male figures most likely to become the tragic hero’s victims we saw as ‘the Good Old Man’, a king or father-figure, like Duncan in Macbeth or the Commendatore in Don Giovanni. He is the light version of the Tyrant or Dark Father-figure. Similarly, the tragic hero may turn on someone who comes to assume particular importance to him as his Rival, like Banquo – the hero’s honourable counterpart or light alter ego, who comes to haunt him as a reproach to his crimes.
但只有当我们谈到英雄最有可能杀死或伤害的女性形象时，我们才能看到最能揭示悲剧性的反转。没有什么比悲剧英雄杀死或拒绝他的“善良天使”“无辜的年轻女孩”的那一刻更能明显地暴露出他所陷入的黑暗状态的恐怖了。当奥赛罗杀死苔丝狄蒙娜时，当李尔流放科迪莉亚时，当唐·何塞背弃米凯拉时，当多里安·格雷拒绝西比尔·文恩导致她自杀时，当斯塔夫罗金侵犯小玛特廖莎导致她上吊自杀时，他们的最终命运就已注定。在侵犯或拒绝自身之外的女性特质的过程中，她们灾难性地封闭了自身内在的女性价值，而只有这种价值才能让她们正确地感受和看待整个世界。
But it is when we come to the feminine figures whom the hero is most likely to kill or injure that we see the tragic inversion in its most revealing light. Nothing can more tellingly betray the horror of the dark state a tragic hero is getting into than the moment when he kills or rejects the ‘Innocent Young Girl’, his ‘good angel’. When Othello kills Desdemona, when Lear sends Cordelia into exile, when Don José turns his back on Micaela, when Dorian Gray’s rejection of Sibyl Vane brings about her suicide, when Stavrogin’s violation of little Matryosha leads to her hanging herself, their ultimate fate is sealed. In violating or rejecting the feminine outside themselves, they have become catastrophically closed off to the feminine value within themselves, that which alone could allow them properly to feel and to see the world whole.
另一方面，在其他类型的故事中，英雄必须拒绝另一个伟大的女性人物，即“黑暗的另一半”，即诱惑者，而悲剧英雄则恰恰相反。这正是许多悲剧的种子播下的地方，英雄屈服于“黑暗女性”的迷人拥抱：安东尼被克利奥帕特拉迷惑，唐何塞被卡门迷惑，麦克白被麦克白夫人迷惑，朱尔斯被迷惑。和吉姆被凯瑟琳迷住了，克莱德被邦妮迷住了。在这场为悲剧英雄效忠的战斗中获胜的是“黑暗天使”。结果不仅仅是我们看到英雄失去了自己内心真正的女性价值。他也不再是一个完全男性化的人物。正如我们在所有这些例子中看到的那样，他实际上已经变得无人操控。所以我们看到它被证实了，通过这个有点迂回的方式，消极路线，为了让英雄取得成功，他不仅必须接触到自己内心真正的女性价值：他还必须是一个真正的男人，坚强，警觉，对自己和自己的行为有完全的主权。悲剧英雄的定义是，他总是以某种本质的方式表现出自己的软弱。他屈服了，他把自己的男性部分交给了一些不真实的幻想。因此，他在自己的女性方面和男性方面都有缺陷。故事运作方式的最高规则之一是，最终这两者必须密不可分地结合在一起。如果不充分发展另一个，就不可能充分发展和积极发挥其中之一。一方有缺陷，双方也有缺陷。他还必须是一个真正的男人，坚强，警觉，对自己和自己的行为有完全的主权。悲剧英雄的定义是，他总是以某种本质的方式表现出自己的软弱。他屈服了，他把自己的男性部分交给了一些不真实的幻想。因此，他在自己的女性方面和男性方面都有缺陷。故事运作方式的最高规则之一是，最终这两者必须密不可分地结合在一起。如果不充分发展另一个，就不可能充分发展和积极发挥其中之一。一方有缺陷，双方也有缺陷。他还必须是一个真正的男人，坚强，警觉，对自己和自己的行为有完全的主权。悲剧英雄的定义是，他总是以某种本质的方式表现出自己的软弱。他屈服了，他把自己的男性部分交给了一些不真实的幻想。因此，他在自己的女性方面和男性方面都有缺陷。故事运作方式的最高规则之一是，最终这两者必须密不可分地结合在一起。如果不充分发展另一个，就不可能充分发展和积极发挥其中之一。一方有缺陷，双方也有缺陷。他将自己的男性部分屈服于某种不真实的幻想。因此，他在自己的女性方面和男性方面都有缺陷。故事运作方式的最高规则之一是，最终这两者必须密不可分地结合在一起。如果不充分发展另一个，就不可能充分发展和积极发挥其中之一。一方有缺陷，双方也有缺陷。他将自己的男性部分屈服于某种不真实的幻想。因此，他在自己的女性方面和男性方面都有缺陷。故事运作方式的最高规则之一是，最终这两者必须密不可分地结合在一起。如果不充分发展另一个，就不可能充分发展和积极发挥其中之一。一方有缺陷，双方也有缺陷。
On the other hand, where the hero in other types of story must reject that other great female figure, the ‘Dark Other Half’, the Temptress, the tragic hero does the opposite. This is precisely where the seeds of so many tragedies are sown, as the hero succumbs to the bewitching embraces of the ‘dark feminine’: as Antony is bewitched by Cleopatra, Don José is bewitched by Carmen, Macbeth is bewitched by Lady Macbeth, Jules and Jim are bewitched by Catherine, Clyde is bewitched by Bonnie. It is the ‘dark angel’ who wins in the battle for the tragic hero’s allegiance. And the result is not just that we see the hero losing touch with the true feminine value within himself. He is no longer a fully masculine figure either. As we see in all these examples, he has become literally un-manned. And so we see it confirmed, by this somewhat roundabout, negative route, how in order for the hero to succeed he must not only be in touch with the true feminine value within himself: he must also be truly a man, strong, alert, fully sovereign over himself and his actions. It is a definition of the hero of Tragedy that he always in some essential way shows himself to be weak. He gives way, he surrenders the masculine part of himself to some unreal fantasy. He is thus deficient both on the feminine side of himself and on the masculine. And one of the supreme rules of the way that stories work is that ultimately these two must go inextricably together. It is impossible fully to develop and make positive the one, without fully developing the other. Where one is deficient, so are they both.
我们在以悲剧女主角安娜·卡列尼娜和包法利夫人为中心的两个伟大故事中看到了这一点。很明显，安娜和爱玛·包法利的丈夫都是缺乏想象力、冷酷无情的男人，他们缺乏内在的女性气质，而这种内在女性气质可以与妻子的女性气质形成一座活生生的桥梁。但同样，他们也不是完全的男人。痴迷于工作的官僚和失败的省级医生都是未发育成熟的男性气质的干枯外壳——正是因为他们在男性和女性方面都不足，他们不快乐、沮丧的妻子才成为“黑暗的另一半”的牺牲品。承诺所有激烈的激情，混合男性的力量和女性的温柔的爱，这是他们在婚姻中所缺乏的。但在每一个例子中，“黑暗的他者”最终都是一个难以捉摸的幻影，很大程度上源于女主人公自己的幻想。最后，女主人公与自己内心真正的、赋予生命的女性不可挽回地隔绝了，她变得狂野、疯狂、无可救药地孤独，将自己投入死亡的遗忘之中。
We see this reflected in those two great stories centred on a tragic heroine, Anna Karenina and Madame Bovary. It is obvious that the husbands of both Anna and Emma Bovary are unimaginative, unfeeling men who lack the inner feminine which could form a living bridge to the feminine in their wives. But equally they are not fully men either. The work-obsessed bureaucrat and the failed provincial doctor are dried-up husks of undeveloped masculinity – and it is because they are inadequate on both the masculine and feminine sides that their unhappy, frustrated wives become prey to the ‘Dark Other Half’ who seems to promise all the fierce passion, mingling masculine strength and the feminine softness of love, which they lack in their marriages. But in each case the ‘dark other’ turns out to be an elusive phantom, spun largely out of the heroine’s own fantasies. Finally, irrevocably cut off from the true, life-giving feminine within herself, the heroine is left wild, deranged and hopelessly alone, to throw herself into the oblivion of death.
在那些部分救赎的悲剧中会发生什么，最终会向上转向光明？我们看到李尔王、唐怀瑟和参孙等形形色色的英雄最初都被“黑暗女性”——虚假的高纳里尔和里根、维纳斯、黛利拉——所迷惑，以至于他们变得无人控制、软弱无力。但后来在《李尔王》中尽管现在要召回因最初的弱点而释放的怪物已经来不及了，但我们看到李尔首先通过与科迪莉亚的和解，重新接触到了自己内心的女性气质；然后，在戏剧的最后阶段，他再次展现出他昔日的王者风范。表面上他可能不再是国王，但他正在发现一种新的对自己的主权。唐豪瑟在经历了漫长而孤独的罗马朝圣之旅的磨难后，找到了新的英雄形象。在维纳斯贝格经历了一年的阉割和衰弱之后，他已经成为一个男人，值得与他的“好天使”伊丽莎白团聚。参孙在被黛利拉如此可怕地无人控制后，终于恢复了他的男子气概，以至于他可以作为他国家最伟大的英雄之一而死。
And what happens in those tragedies of partial redemption, where there is an eventual turn upwards towards the light? We see such varied heroes as King Lear, Tannhäuser and Samson all initially bewitched by the ‘dark feminine’ – by the false Goneril and Reagan, by Venus, by Delilah – to the point where they are left unmanned and weak. But then in King Lear, even though it is too late to call back the monsters unleashed by his initial weakness, we see Lear first getting back in touch with his own inner feminine through his reconciliation with Cordelia; then, in the closing stages of the play, assuming once again some of his old kingly, manly stature. He may no longer be outwardly a king, but he is discovering a new sovereignty over himself. Tannhäuser, through the ordeal of his long, lonely pilgrimage to Rome, has found a new heroic stature. After the emasculation and enervation of his year on the Venusberg, he has become a man, worthy to be united in death with his ‘good angel’ Elizabeth. Samson, after being so hideously unmanned by Delilah, finally recovers his manly strength to such effect that he can die one of the greatest heroes of his nation.
男性价值
The masculine value
真正的英雄如果要成功，就必须是一个完全的男人。在那些要求英雄与黑暗力量进行直接身体冲突的故事类型中，这种表现方式似乎足够简单；为了战胜或智胜“怪物”，或者在任务的所有考验和磨难中生存下来，他必须表现出明显的男子气概，例如出色的体力、精神力量和耐力。奥德修斯或忒修斯、吉尔伽美什或大卫、亚瑟王或罗宾汉、超人或詹姆斯·邦德等传奇英雄的阳刚之气似乎永远不会受到质疑。作为勇敢的战士，他们表现在对剑、弓、斧头、矛或枪的掌握上，表现在他们的领导力、勇气和战斗技巧上。从各方面来看，他们似乎都是充满阳刚之气的人物。但它是什么一个男人所拥有的不仅仅是这些品质。我们可以在七个情节的最后一个《重生》中更清楚地看到这一点。
The true hero, if he is to succeed, must be fully a man. The way in which this is represented may seem straightforward enough in those types of story which require the hero to engage in direct physical conflict with the powers of darkness; where in order to overpower or outwit the ‘monster’, or to survive all the tests and ordeals of a Quest, he has to show such obvious manly qualities as outstanding physical and mental strength and stamina. The masculinity of such legendary heroes as Odysseus or Theseus, Gilgamesh or David, King Arthur or Robin Hood, Superman or James Bond, may never seem to be in doubt. As doughty fighters, they show it in their mastery of sword, bow, axe, spear or gun, in their powers of leadership, their courage and combative skill. They seem to be virile figures in every way. But what it is to be fully a man has rather more to it than just these qualities. And we can see this reflected still more clearly in the last of our seven plots, Rebirth.
重生故事的精髓首先在于，它展示了其中心人物以任何更熟悉的形式被黑暗力量囚禁的故事。例如，我们可能会看到英雄被暴君囚禁，就像弗洛雷斯坦躺在皮萨罗的地牢里一样。他可能是被女巫或妖女施下的咒语所迷惑——就像凯被冰雪女王囚禁一样，或者王子被女巫囚禁在野兽的外在形态中。我们可能会看到英雄被困在一种黑暗的状态中，这种状态更明显地来自于他自己，就像斯克鲁奇或拉斯科尔尼科夫一样。确实在皮尔金特我们看到一个英雄，他是所有这些事情的受害者：他被“黑暗国王”和来自地下巨魔王国的诱惑者迷住的结果是带出了皮尔的黑暗部分，他自负的“金特式自我”，长期以来，这种观念主导着他的行为并塑造了他的生活。
The essence of the Rebirth story is, firstly, that it shows its central figure imprisoned by the dark power in any of its more familiar guises. We may, for instance, see the hero imprisoned by a Tyrant, like Florestan lying in Pizarro’s dungeons. He may have fallen under a spell cast by a Witch or Temptress – like Kay imprisoned by the Snow Queen, or the prince imprisoned in the outward form of the Beast by an enchantress. We may see the hero trapped in a state of darkness which springs more obviously from within himself, like Scrooge or Raskolnikov. Indeed in Peer Gynt we see a hero who is the victim of all these things: the effect of his being enchanted by the ‘dark king’ and the Temptress from the subterranean troll kingdom being to bring out the dark part of Peer, his egotistical ‘Gyntish self’, which comes for so long to dominate his behaviour and to shape his life.
在每一个例子中，我们看到的都是一个英雄，他因监禁而无法展现出作为一个人应有的状态。他可能被描绘成一个软弱、被动的人物，就像隐居的塞拉斯·马纳或冰雪女王宫殿里的小凯一样。在另一方面，他可能像富有、暴虐的斯克鲁奇或伟大商业帝国的不道德领袖皮尔·金特一样强大。但无论哪种情况，他都处于一种权力的掌握之中，这种权力在某种程度上阻碍了他，阻止他生活在轻松的自我主权之中。就适当的男性气质而言，他已沦为悲伤的二维漫画。
In each instance, what we see is a hero who is held back by his imprisonment from assuming his proper state as a man. He may be presented as a weak, passive figure, like the reclusive Silas Marner or little Kay in the Snow Queen’s palace. On the other hand, he may be strong and powerful like the rich, tyrannical Scrooge or Peer Gynt, the amoral head of a great business empire. But in either case he is in the grip of a power which in some way stunts him and prevents him from living in easy sovereignty over himself. In terms of proper masculinity he has been reduced to a sad, two-dimensional caricature.
事实上，就像女性一样，故事中的男性也有两个方面。第一个是权力或力量。这可能主要表现为身体力量和存在的问题，就像那些特殊战斗力与传奇武器相关的英雄一样，比如巨剑神剑或罗宾汉的弓。它可以表现为拥有重要的地位或拥有巨大的财富。它可以被简单地描述为一种意志、个性或性格的力量，使其拥有者能够行使统治地位：要么凌驾于他人，要么凌驾于自己之上。在这方面，男性能量最终源自身体力量，它赋予了掌控力和独立性。
In fact, like the feminine, the masculine in stories has two aspects. The first of these is power or strength. This may be presented primarily as a matter of physical potency and presence, as with those heroes whose special combative power is associated with legendary weapons, like the great sword Excalibur or Robin Hood’s bow. It may be presented as the holding of great position or the possession of great riches. It may be portrayed simply as a strength of will, personality or character which enables its possessor to exercise dominance: either over others, or over himself. And in this respect, which derives ultimately from a physical power, the masculine is something which gives mastery and independence.
另一个男性特质是秩序感。这可以表现为一种社会秩序意识、等级意识、礼仪意识、纪律意识、法律正义意识。或者更微妙地，它可以被视为人类心灵以有序、理性模式看待世界的全部能力：这正是我们所有秩序概念的根源，无论是社会的还是智力的：需要看到每个人或每件事都排列在适当的位置和关系。在这方面，最终源于人类思维对框架和可理解性的需求，男性通过组织给人一种控制感。
The other masculine attribute is a sense of order. This may be presented as a consciousness of social order, of hierarchy, propriety, the need for discipline, for justice under the law. Or it may be seen, rather more subtly, as the whole capacity of the human mind to see the world in terms of orderly, rational patterns: that very thing which lies at the root of all our notions of order, whether social or intellectual: the need to see everyone or everything marshalled in proper place and relationship. In this respect, which derives ultimately from the need of the human mind for framework and comprehensibility, the masculine gives a sense of control through organisation.
身体和精神这两种东西，赋予人类生命必不可少的力量和坚定性、脊梁和活力。没有它们，它就会变得软弱、无效、无定形、混乱、没有纪律或方向，并且无法生存。但在这两个方面，男性能量都是基于分离和分裂的原则：使一个人或一部分能够主宰另一个人的权力感；秩序感植根于区分和建立一物与另一物之间差异的需要。
Both these things, the physical and the mental, give an essential strength and firmness, a backbone and vigour to human life. Without them it remains weak, ineffectual, amorphous, chaotic, without discipline or direction, and it cannot survive. But in both its aspects the masculine is based on the principle of separation and division: the sense of power which enables one person or part to dominate over another; the sense of order which is rooted in the need to discriminate and to establish differences between one thing and another.
在这两个方面，男性能量都可能是强硬和不灵活的。当我们看到一个具有“黑暗男性气质”的角色时，我们会看到他以一种自我中心和否定生命的方式被其中一个或两个事物所控制。暴君或黑暗之父是一个恶霸，他以侵略性、残酷的方式利用自己的权力和力量将自己的意志强加于他人。他这样做也可能是为了维护既定的权威和等级结构，就像那些冷酷无情的喜剧之父一样，他们拒绝让自己的儿子娶出身卑微的女孩。他们希望维持某种限制性的秩序观念，不允许生命流动：就像夏洛克一样，不惜任何人性的代价，无情地追求法律下的正义；或者像《名歌手》中的贝克梅塞尔他如此痴迷于大师歌手制定的传统歌唱规则，以至于看不到瓦尔特创作了一首异常美丽的歌曲，仅仅是因为他的视野仅限于规则范围内的东西。
In both these respects the masculine is potentially hard and inflexible. And when we see a character possessed by the ‘dark masculine’, we see him in the grip of either or both of these things, in a way which is egocentric and life-denying. The Tyrant or Dark Father is a bully who uses his power and strength in an aggressive, cruel way to impose his will on others. He may also be doing so to preserve an established structure of authority and hierarchy, like the unrelenting fathers of Comedy who refuse to allow their sons to marry girls of humble origins. They wish to maintain a certain limiting notion of order which does not allow life to flow: like Shylock who remorselessly pursues justice under the law, at any human price; or like Beckmesser in Die Meistersinger who is so obsessed by the traditional rules of singing laid down by the Mastersingers that he cannot see that Walther has created a song of exceptional beauty, simply because his vision is constricted to that which lies within the rules.
换句话说，虽然男性代表着权力和秩序两大原则，但如果这些原则是黑暗和片面的，那么它们就只能变得死气沉沉。和分裂的目的。这种力量最终只能用来粉碎和毁灭。秩序是一个死的结构，它变得令人窒息和压抑，无法转化为生命。
In other words, while the masculine stands for the two great principles of power and order, if these are dark and one-sided they can only be turned to deadening and divisive purpose. The power can be used ultimately only to crush and to destroy. The order is a dead structure which becomes suffocating and oppressive and cannot resolve into life.
但同样，当英雄陷入“黑暗女性”的掌控时，就像奥德修斯在卡利普索岛上受苦受难，或者唐怀瑟享受维纳斯山的感官愉悦，或者安东尼被“古老尼罗河的蛇”所诱捕时，我们看到了他无法变得足够男性化。至少就目前而言，他还不够坚强，不够自律，不够专横，不足以成为一个男人。他被欺骗而失去了与男性力量的联系，他变得软弱和依赖，不再对自己的行为拥有主权。更糟糕的是，他试图与自己的男性气质取得联系的努力可能会变得疯狂、叛逆和无法解决——就像越来越绝望的唐·何塞一样，首先猛烈攻击他胜利的对手埃斯卡米洛，然后致命地攻击卡门本人；或者是在邦妮的魔咒下阳痿、性欲受挫的克莱德，试图用枪来证明自己的男子气概。如果这样的英雄确实具有真正的男性力量，那么当他落入“黑暗女性”的影响下时，结果可能是最灾难性的，就像强硬而成功的麦克白将军屈服于“黑暗姐妹”的诱惑并他的专制妻子：他的力量被转向黑暗的目的，他杀死了他想成为的人，善良的合法国王，真正男性权威的光荣持有者，并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。如果这样的英雄确实具有真正的男性力量，那么当他落入“黑暗女性”的影响下时，结果可能是最灾难性的，就像强硬而成功的麦克白将军屈服于“黑暗姐妹”的诱惑并他的专制妻子：他的力量被转向黑暗的目的，他杀死了他想成为的人，善良的合法国王，真正男性权威的光荣持有者，并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。如果这样的英雄确实具有真正的男性力量，那么当他落入“黑暗女性”的影响下时，结果可能是最灾难性的，就像强硬而成功的麦克白将军屈服于“黑暗姐妹”的诱惑并他的专制妻子：他的力量被转向黑暗的目的，他杀死了他想成为的人，善良的合法国王，真正男性权威的光荣持有者，并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。当他落入“黑暗女性”的控制之下时，结果可能是最灾难性的，就像当坚强、成功的麦克白将军屈服于“黑暗姐妹”和他的统治妻子的诱惑时：他的力量变成了黑暗最终，他杀死了他想成为的人，即善良的合法国王，真正男性权威的光荣持有者，并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。当他落入“黑暗女性”的控制之下时，其结果可能是最灾难性的，就像当坚强、成功的麦克白将军屈服于“黑暗姐妹”和他的统治妻子的诱惑时：他的力量变成了黑暗最终，他杀死了他想成为的人，即善良的合法国王，真正男性权威的光荣持有者，并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。成功的麦克白将军屈服于“黑暗姐妹”和他专横的妻子的诱惑：他的力量转向了黑暗的目的，他杀死了他想成为的人，善良的合法国王，真正男性权威的光荣持有者，并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。成功的麦克白将军屈服于“黑暗姐妹”和他专横的妻子的诱惑：他的力量转向了黑暗的目的，他杀死了他想成为的人，善良的合法国王，真正男性权威的光荣持有者，并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。并因此成为暴君。在较弱的男人中，他们的男子气概可能仍然保留在头脑中，就像小凯首先在言语上变得咄咄逼人和愤世嫉俗，然后在冰雪女王的魔力下，整天坐着用冰碎片旋转着无尽的理性思维模式的文字和数字时，但永远无法让他们下定决心去“永恒”这个词。
But equally, when a hero has fallen into the grip of the ‘dark feminine’, like Odysseus languishing on Calypso’s isle, or Tannhäuser enjoying the sensual delights of the Venusberg, or Antony ensnared by ‘the serpent of old Nile’, we see him unable to become masculine enough. For the time being at least, he is not strong, disciplined or masterful enough to be a man. He has become beguiled into losing touch with his masculine power, he has become weak and dependent, no longer sovereign over his own actions. Worse still, his efforts to get in touch with the masculine in himself may become wild, rebellious and unresolved – like the increasingly desperate Don José, lashing out first at his victorious rival Escamillo, then fatally at Carmen herself; or the impotent, sexually frustrated Clyde, under the spell of Bonnie, trying to prove his manliness with the gun. If such a hero does have genuine masculine strength, the results when he falls under the sway of the ‘dark feminine’ may be most catastrophic of all, as when the tough, successful general Macbeth succumbs to the lures of the ‘dark sisters’ and his dominating wife: his strength is turned to dark ends, he kills the very thing he would like to become, the good legitimate king, the honourable bearer of true masculine authority, and becomes in consequence a Tyrant. In weaker men, their masculinity may remain all in the mind, as when little Kay first turns verbally aggressive and cynical and then, under the spell of the Snow Queen, sits all day spinning endless rational mental patterns of words and figures with ice splinters, but can never get them to resolve into the word ‘eternity’.
英雄能够取得完全胜利的决心的唯一方法是以积极的方式充分发展他的男性气质：这意味着与他内在的女性气质完美平衡。只有这一点才能通过给予连接和联合的重要成分，将男性的力量完全带入生活：通过感觉，与他人和自我之外的世界建立联系；通过直觉的洞察力，给予正确的理解，让他感知事物的整体性以及它们神秘的、隐藏的联系。
The only way the hero can achieve a completely triumphant resolution is by fully developing his masculinity in a way which is positive: and this means in perfect balance with his inner feminine. It is this which alone can bring masculine strength fully to life by giving it the vital ingredient of connection, of joining up: through feeling, which gives a link to others and to the world outside the ego; through that intuitive insight which gives proper understanding, by allowing him to perceive the wholeness of things and their mysterious, hidden connections.
当这些与男性能量达到平衡与和谐时，我们会看到多么大的转变。当权力与对他人的真正同情心结合起来时；当秩序感与看到整体的能力和谐一致时：那么两者都会奇迹般地赋予生命。权力的力量成为一种创造生命而不是死亡的力量，服务于整体而不是拥有它的人的自我。秩序感和结构感的模式充满了生命，因为它们不再只是从人类自我的有限意识中纺出来的死的心理结构，而是与一个活生生的整体联系在一起。因此，我们看到四个元素中的每一个——力量、秩序、感觉和直觉理解，或身体和心灵，如何 全心全意 - 对于所有其他人谋求完整的生活至关重要。我们在《重生》情节的运作中看到了这个微妙等式的平衡最微妙的表达。
When these are brought into balance and harmony with the masculine, then what a transformation we see. When power is brought into conjunction with true sympathetic feeling for others; when the sense of order is brought into harmony with the capacity to see whole: then both are miraculously made life-giving. The strength of power becomes a force making for life, not death, serving the whole rather than the ego of he or she who possesses it. The patterns of the sense of order and structure are imbued with life because they are no longer just dead mental constructs spun out of the limited consciousness of the human ego, but connect up with a living totality. We thus see how each of the four elements – strength, order, feeling and intuitive understanding, or body and mind, heart and soul - is ultimately essential to all the others to make a living whole. And nowhere do we see the balances of this delicate equation expressed more subtly than in the workings of the plot of Rebirth.
四面整体
The four-sided totality
我们从童年时遇到的第一个以女主角为中心的重生故事中，我们下意识地学到的第一件事就是，仅凭她的女性气质并不足以将她从监禁中拯救出来。睡美人和白雪公主既没有力量也没有判断力来承受“黑暗女性”对她们施加的咒语。当他们陷入冰冷的睡眠时，他们似乎失去了一切。让他们复活所需要的是男性价值的力量，这体现在英俊的王子身上，他最终将他们从监禁中释放出来。
One of the first things we subconsciously pick up from those first Rebirth stories we meet in childhood, centred on a heroine, is that her femininity alone is not enough to save her from imprisonment. Sleeping Beauty and Snow White have neither the strength nor the judgement to withstand the spell cast over them by the ‘dark feminine’. As they fall into their frozen sleep it seems they have lost everything. What is needed to return them to life is the strength of the masculine value, personified in the handsome prince who eventually releases them from their imprisonment.
相反，在《青蛙王子》和《美女与野兽》中当不成熟的年轻女主角第一次遇到男性价值时，在她看来是来势汹汹、毫无吸引力、畸形的。只有当女主人公将她的女性气质发展到可以向这个以青蛙或怪物的“低等”伪装的男性代表表达爱意时，它才会以其完全发展的形式出现，成为英俊的王子。事实上，在这些故事的结尾，我们看到女性和男性同时解放了彼此。这就是重生的本质：它向我们展示了如何不可能充分发展人类个性的一侧，无论是男性还是女性，除非另一侧也给予积极的平衡。最初，重生故事向我们展示了一个被囚禁的人，他或她的整体性格的某一面完全被压抑，同时使剩余的上侧发育不良或变形。通常，女性能量受到压抑，而男性能量则在某种程度上被扭曲。但男主角或女主人公随后遇到了一些救赎性的人物，其本质是唤醒被压抑的、劣等的一面：结果是，优越的、畸形的一面也最终能呈现出其应有的形状。
Conversely, in The Frog Prince and Beauty and the Beast, when the immature young heroine first encounters the masculine value, it seems to her menacing, unattractive and deformed. Only when the heroine has developed her femininity to the point where she can show love to this representative of the masculine in its ‘inferior’ guise as a frog or a monster does it emerge in its proper fully-developed form as a handsome prince. Indeed at the end of these stories we see the feminine and the masculine liberating each other simultaneously. And such is the essence of Rebirth: that it shows us how it is impossible to develop one side of the human personality fully, masculine or feminine, unless this is also given positive counter-balance by the other. Initially a Rebirth story shows us someone who is imprisoned in such a way that it completely represses one side of his or her overall personality, while leaving the remaining, superior side stunted or deformed. Usually it is the feminine which is repressed, while the masculine is in some way deformed. But the hero or heroine then encounters some redeeming figure whose nature is such as to awaken the repressed, inferior side: with the result that the superior, deformed side can also at last assume its proper shape.
例如，我们了解到斯克鲁奇，作为一个原本敏感而善于交际的年轻人，他对金钱日益增长的痴迷如何导致他失去了即将嫁给他的女孩。他失去了与软化的女性气质的接触，从而陷入了“黑暗男性气质”的变形控制之中，变得无情而暴虐，痴迷于财富的力量和账簿中无休止的计算他借出和欠下的金额。当他在梦中遇到三个灵魂时，他陷入了危机，这三个灵魂就像来自他无意识的使者，通过向他呈现他所处状态的令人震惊的客观真相，开始让他恢复看到自己和他人完整的能力。与此同时，他早已死去的同情心被小蒂姆这个小瘸子的困境唤醒了，垂死的男孩代表着他从未有过的孩子，阻碍了生命再生的希望。最后，斯克鲁奇重新与内心的女性联系起来，经历了转变，这也唤醒了他回到适当的男子气概状态，创造性地和保护性地利用他的男性力量为他人带来生命。
We learn of Scrooge, for instance, how as an originally sensitive and sociable young man his growing obsession with money had caused him to lose the girl who was going to marry him. He has lost touch with the softening feminine and thus passed into the deforming grip of the ‘dark masculine’, becoming heartless and tyrannical, obsessed with the power of riches and the endless calculation in his ledgers of how much he had lent and was owed. He comes to the crisis when he is confronted in a dream by the three spirits, like messengers from his unconscious, who by presenting him with the shocking objective truth of his state begin to give him back the capacity to see himself and others whole. Simultaneously his long dead capacity for sympathetic feeling is aroused by the plight of Tiny Tim, the little crippled, dying boy who represents the child he never had, stunted hope for the regeneration of life. Finally, having thus been brought back in touch with his inner feminine, Scrooge goes through the transformation which also awakens him back to his proper manly state, using his masculine power creatively and protectively to bring life to others.
皮尔·金特的故事也类似。当他抛弃索尔维格时，年轻时的他也失去了与女性的联系，并陷入了“黑暗男性”的变形控制之中。结果，他成为了一个极其强大的人物，痴迷于利用自己的权力来统治和重组世界。但没有什么可以永远决心，或者给他他渴望的满足。然后，他开始发现有能力通过按钮成型者的神秘人物看到他畸形状态的客观真相。最终，在与索尔维格重逢时，他不仅发现了真实的感情，而且发现了自己作为一个男人的内心深处的身份。
The story of Peer Gynt is similar. He also loses touch with the feminine as a young man, when he abandons Solveig, and passes into the deforming grip of the ‘dark masculine’. As a result, he becomes an immensely powerful figure, obsessed with using his power to dominate and reorganise the world. But nothing can ever resolve, or give him the satisfaction he craves. He then begins to find the capacity to see the objective truth of his deformed state through the mysterious figure of the Button Moulder. Finally, in his reunion with Solveig, he discovers not only true feeling but also his inmost identity as a man.
因此，斯克鲁奇和皮尔·金特都是具有强烈男性气质的人物，他们的男性气质因为失去了与内在女性气质的联系而变得黑暗和畸形。他们是“活跃”的人物，因为强大的男性特质使得故事中的任何角色都变得“活跃”。
Both Scrooge and Peer Gynt are thus strongly masculine figures, whose masculinity has become dark and deformed because they have lost touch with the inner feminine. They are ‘active’ figures, because to be strong in the masculine qualities is what makes any character in a story ‘active’.
塞拉斯·马纳的情况则不同。他的问题不仅仅在于他与女性失去了联系（当时他被错误地指控偷钱并让他所爱的女孩失去了“黑暗对手”）。他也失去了男子气概的力量（最重要的象征是他自己的钱被另一个“黑暗对手”损失了）。枯燥、自怜、完全封闭自己，他因此成为一个被动的人物——直到救赎孩子埃皮的到来，他不仅通过让他恢复感觉能力来唤醒他内心失去的女性气质，而且此外，通过召唤他扮演父亲保护者的新角色，重新唤醒了他的男性力量。他甚至还找回了自己的钱，这些钱多年来一直像被锁在池塘底部的死气沉沉的能量一样，现在可以用它来照顾埃皮，赋予生命。
The case of Silas Marner is different. His problem is not just that he has lost touch with the feminine (at the time when he had been falsely accused of stealing money and lost the girl he loved to a ‘Dark Rival’). He has also lost the power of his masculinity (symbolised above all by the loss of his own money to another ‘Dark Rival’). Dried-up, self-pitiful, completely closed in on himself, he thus becomes a passive figure – until the arrival of the redeeming child, Eppie, who not only awakens the lost feminine in him by giving him back the capacity to feel, but also, by calling him into the new role of father-protector, reawakens his masculine strength. He even recovers his money, which for years has lain like so much locked-up dead energy at the bottom of a pond, and can now put it to life-giving use in looking after Eppie.
拉斯科尔尼科夫是一位不幸的年轻学生，他是另一位在男性和女性方面都软弱的英雄。在他证明自己是一个男人的混乱幻想中，他只能梦想一些疯狂的、叛逆的行动，以证明他像拿破仑一样超越道德秩序的力量。事实上，这只是对男子气概的可怕讽刺，是对两个无助的老妇人的无情杀害。此时，如果这个故事是悲剧，我们应该看到他螺旋式下降到黑暗的掌控中，直到被毁灭。相反，他开始神秘地被两个光明人物的迷惑所迷惑：地方法官波尔菲里，一位睿智、洞察一切的“父亲形象”，代表了拉斯科尔尼科夫所缺乏的真正的男性权威和坚定；索尼娅尽管表面上生活方式堕落，但代表着无私，同情的感觉。在他们的影响下，拉斯柯尔尼科夫一步一步地被迫面对自己可怕罪行的现实，尽管直到他的噩梦向他展示了他所处状态的客观真相，他才最终发展出看待整体的能力。正是这一点让他在与索尼娅的精神结合中感受到了真实的情感，因此我们不禁认为，在故事的结尾，他终于走上了成为一个完整的人的道路。
Raskolnikov, the unhappy young student, is another hero weak on both the masculine and feminine sides of himself. In his disordered fantasies of proving himself to be a man he can only dream of some wild, rebellious action which will demonstrate his Napoleon-like power to transcend the moral order. In reality this turns out to be a hideous caricature of manliness, the heartless killing of two helpless old women. And at this point, if the story were Tragedy, we should see him spiralling down into the grip of darkness until he is destroyed. Instead he begins to pass mysteriously under the spell of two light figures: the magistrate Porfiry, a wise, all-seeing, ‘father figure’, who represents the true masculine authority and firmness which Raskolnikov lacks; and Sonia who, despite her outwardly fallen way of life, represents selfless, sympathetic feeling. Step by step, under their influence, Raskolnikov is drawn into facing up to the reality of his horrible crime, even though it is not until his nightmare shows him the objective truth of his state that he finally develops the capacity to see whole. It is this which brings him in touch with true feeling, in his spiritual union with Sonia, and we are thus led to suppose that at the end of the story he is at last on his way to becoming a whole man.
在《冰雪女王》中，当魔术师镜子的一块碎片进入凯的眼睛时，他就失去了看到整体的能力（一切都被扭曲了，并以一种嘲弄、讽刺的方式出现）；当另一个人进入他的内心时，他的感觉就会被切断（他拒绝了格尔达）。这使他陷入了“黑暗男性气质”的魔咒之下，因为他新发现的大脑对理性计算和心理模式的痴迷。但他没有真正的男性力量：一切都在头脑中，就像拉斯柯尔尼科夫一样；这也让他陷入了“黑暗女性”的魔咒之下，即强大而无情的冰雪女王。凯现在完全被囚禁了，他既失去了真正的女性气质，又阻碍了他的男性气质。此时格尔达她开始寻找他，在自己身上体现了他所缺乏的品质：她的感觉中的女性气质，以及她的勇气和精神中的他所需要的男性力量。因此，她是一位“活跃”的女主角。在凯转变的时刻，当她解放了他时，他不仅恢复了与自己内心压抑的女性的接触，恢复了他感觉和看到整体的能力，而且还恢复了他的独立性和男子气概。因此，当最后他们都回家时，我们得知，这两个以前的孩子终于“长大了”。
In The Snow Queen when one splinter of the magician’s mirror enters Kay’s eye he loses the capacity to see whole (everything is seen distorted and in a mocking, satirical light); when another enters his heart, it cuts him off from feeling (he rejects Gerda). This places him under the spell of the ‘dark masculine’, in terms of his newfound cerebral obsession with rational calculations and mental patterns. But he has no real masculine strength: it is all in the mind, as with Raskolnikov; and this also places him under the spell of the ‘dark feminine’ in the shape of the powerful, heartless Snow Queen. Kay is now completely imprisoned, both dead to the true feminine and stunted in his masculinity. At this point Gerda sets out to find him, representing in herself both the qualities he lacks: the femininity of her feeling and, in her courage and spirit, the masculine strength he needs as well. She is thus an ‘active’ heroine. And at the point of Kay’s transformation, when she has liberated him, he recovers not only contact with the repressed feminine in himself, his ability to feel and to see whole, but also his independence and manly strength. Thus we learn at the end, when both have returned home, that the two former children have at last ‘grown up’.
最后，在费德罗，我们看到了一个不寻常的例子，一个英雄，由于他的特殊情况，他的男性气质受到了阻碍，而他内心的女性气质却依然坚强。弗洛雷斯坦被暴君囚禁，从表面上看他沦为一种软弱、被动的依赖。但他在对莱奥诺尔不可动摇的爱中保留了与女性的牢固联系，而正是这种情况，她自己的品质平衡最有能力弥补。莱奥诺尔不仅自身的女性气质得到充分发展。她无畏的勇气也散发着“男性”力量，正如她穿上男人的伪装所传达的那样。在这方面，她给地牢里的弗洛雷斯坦带来了他失去的力量和精神。她能够反抗并智胜暴君，从而使弗洛雷斯坦能够再次获得自由，成为一个真正的人，从而使等式变得完整。就像阿里阿德涅、波西娅或简·爱一样，她是“活跃的”女英雄，当英雄本人由于某种原因而以男性的方式变得软弱和缺乏力量时，她经常被需要。“活跃”的女主人公总是一个坚强、独立的人物，对自己积极的内在男性气质充满活力，这就是为什么她经常把自己伪装成男人，或者与男性武器联系在一起（阿里阿德涅把剑带给忒修斯）或“男性”技能（波西娅展示了她对法律的掌握）。她需要通过帮助将英雄从监禁中拉出来并恢复男性力量来纠正整个方程式的平衡，在这个方程式中，英雄已经变得无能为力。因为对于任何真实的情况，
Finally, in Fidelo, we see the unusual case of a hero who, because of his special circumstances, has become stunted in his masculinity while remaining strong in his inner feminine. Florestan’s imprisonment at the hands of the Tyrant reduces him outwardly to a weak, passive dependence. But he retains his secure link to the feminine in his unshakeable love for Leonore, and it is precisely this situation which her own balance of qualities is best equipped to redeem. Leonore is not only fully developed in her own femininity. She is also, in her fearless courage, irradiated with ‘masculine’ strength, as is conveyed by her donning a man’s disguise. In this respect she brings to Florestan in his dungeon the very strength and spirit he has lost. She is able to defy and to outwit the Tyrant, and thus to make the equation complete whereby Florestan can be freed again to become a proper man. Like Ariadne, or Portia, or Jane Eyre, she is the ‘active’ heroine who is so often needed when the hero himself is for some reason rendered in masculine terms weak and lacking in power. The ‘active’ heroine is always a strong, independent figure, alive to the positive inner masculine qualities in herself, which is why she so often disguises herself as a man, or is associated with manly weapons (Ariadne bringing the sword to Theseus) or ‘masculine’ skills (Portia showing her mastery of the law). She is needed to redress the balance of the overall equation, where the hero has been reduced to impotence, by helping to pull him out of his imprisonment and restoring him to masculine strength. Because for any true, triumphant union to take place between the hero and heroine of a story, a complete balance of all four masculine and feminine qualities has somehow to be available between them: to bring about the final flowering which can enable both, in each other, to become whole.
We can now see the nature of the equation which lies at the heart of stories coming clearly into view.
第15章
完美平衡
Chapter 15
The Perfect Balance
“天空本身、行星和这个中心，
‘The heavens themselves, the planets and this centre,
观察程度、优先级和位置，
Observe degree, priority and place,
坚持、路线、比例、季节、形式、
Insisture, course, proportion, season, form,
办公室和海关，一切秩序井然；
Office and custom, in all line of order;
因此，光荣的太阳系行星
And therefore is the glorious planet Sol
在崇高的地位上加冕并被包围
In noble eminence enthron’d and sphered
在另一个之中；谁的药眼
Amidst the other; whose medicinable eye
纠正行星邪恶的不良方面，
Corrects the ill aspects of planets evil,
和帖子，就像国王的命令，
And posts, like the commandment of a king,
没有检查，好坏。但当行星
Sans check, to good and bad. But when the planets
在邪恶的混乱中徘徊，
In evil mixture to disorder wander,
什么瘟疫、什么预兆、什么叛变，
What plagues and what portents, what mutiny,
大海的汹涌，大地的震动，
What raging of the sea, shaking of earth,
风中的骚动、恐惧、变化、恐怖，
Commotion in the winds, frights, changes, horrors,
转移和破裂、撕裂和消灭
Divert and crack, rend and deracinate
各州的团结与平静
The unity and married calm of states
与他们的赛程完全不同。
Quite from their fixtures.’
莎士比亚《特洛伊罗斯与克瑞西达》中的《尤利西斯》， i.iii
Ulysses in Shakespeare’s Troilus and Cressida, i.iii
“幸福的家庭都是相似的，不幸的家庭却各有各的不幸。” 托尔斯泰在《安娜·卡列尼娜》一书中的开篇名言很可能适用于故事。“所有有美好结局的故事都是相似的……”当然，当我们审视故事未能达到适当美好结局时会发生什么时，我们会看到，每个故事都这样做是有某种意义的。以自己的方式并出于自己的个人原因。但是，当我们考虑到确实有一个完美结局的大量故事时，值得注意的是它们有多少共同点。现在我们可以在本章中总结一下这是什么。
‘All happy families are alike, but each unhappy family is unhappy in its own way.’ The famous dictum with which Tolstoy opens Anna Karenina might well be adapted to apply to stories. ‘All stories which come to a happy ending are alike....’ And certainly, as we shall see when we come to look at what happens when stories fail to reach a proper happy ending, there is a sense in which each does so in its own way and for its own individual reasons. But what is remarkable when we consider the vast range of stories which do come to a complete happy ending is how much they have in common. We can now, in this chapter, sum up what that is.
如果我们考虑一下我们所看过的任何确实达到如此积极解决方案的例子——从《灰姑娘》到《奥德赛》，从《费加罗的婚礼》到《鳄鱼邓迪》– 我们可以看到他们每个人所发生的事情基本上是相同的。为了达到圆满的结局，故事必须以从黑暗力量中解放出来的行动达到高潮，从而产生与生活融合的最终形象。只有当男主角或女主角，或两者一起，以一种潜在的完整方式转变时，才能从黑暗中夺取这个伟大的奖品。这意味着，它们之间必须代表某些特定品质的平衡：我们可以将这些品质识别为“男性”和“女性”。
If we consider any of the examples we have looked at which do reach such a positive resolution – from Cinderella to the Odyssey, from The Marriage of Figaro to Crocodile Dundee – we can see how what has been going on in each of them is fundamentally the same. In order to reach a full happy ending, the story must culminate in an act of liberation from the dark power which produces a final image of integration with life. This great prize can only be wrested from the darkness when the hero or heroine, or both together, have been transformed in such a way that they are potentially whole. This means that, between them, they must represent a balance of certain specific qualities: those qualities we can identify as ‘masculine’ and ‘feminine’.
事实上，我们在上一章中看到的是故事如何向我们呈现一幅理想的人性图景。我们看到不断重复出现的是同一个等式：为了达到完全幸福的结局，男女主人公必须如何完美地体现这四种价值观：力量、秩序、情感和理解。但归根结底，所有这些价值观只是代表了男性和女性的两半，它们构成了一个整体。只要缺少其中任何一个元素，黑暗和不完美的力量就仍然会在某种程度上占据主导地位。为了让故事中的人物完全浮出水面，我们最终必须看到这两个元素完美平衡地结合在一起。
In fact what we have seen emerging in the last chapter is how stories present us with an ideal picture of human nature. What we see endlessly recurring is that same equation: how, to reach the fully happy ending, hero and heroine must represent the perfect coming together of those four values: strength, order, feeling and understanding. But, in the end, all these values represent simply two halves, masculine and feminine, which make up a whole. So long as either of these elements is lacking, the power of darkness and imperfection will still in some degree hold sway. For the characters in a story to emerge fully into the light, we must ultimately see both elements being brought together in perfect balance.
实现这一目标的过程总是需要特定的步骤顺序。首先，我们看到男女主人公处于不完整、未解决的状态，这是故事开始时的特征。然后某些东西必须出现，使他们有可能最终达到遥远的完整状态。第三，这可能包括故事的几乎所有动作，它们必须表现出正在发展，或者以某种方式被带到最终准备好实现这种状态的地步。只有这样，就像打开一些复杂的锁一样，需要所有的弹子都以正确的方式对齐才能打开，我们才能看到第四步，最后的步骤：
The process whereby this is achieved invariably requires a specific sequence of steps. First we see the hero or heroine in that incomplete, unresolved state which characterises the beginning of a story. Then something has to emerge which opens them out to the possibility that eventually they may achieve the distant state of wholeness. Thirdly, and this may comprise almost all the action of the story, they have to be shown as developing, or in some way being brought to the point where they are finally ready to realise that state. Only then, as in the opening of some complicated lock which requires all the tumblers to be aligned in exactly the right way before it will open, can we see the fourth, concluding step: the moment of final transformation and liberation from the dark power which releases the life-giving treasure and brings the story to its triumphant resolution.
这种模式是如此基本，以至于它甚至塑造了世界上一些最简单的故事。在俄罗斯民间小故事《萝卜》中，一个人种下一粒种子，它长成一个巨大的萝卜。当它完全长大（或“完整”）时，他试图将其从地里拔出来，但失败了。我们有这样的印象：某种巨大的奖赏尚未获得，因为英雄还不足以胜任这项任务。男人呼唤妻子，但即使他们的力量加起来也不够。为了帮助完成这项任务，他依次召唤了一个男孩、一个女孩和一系列动物，每一个都添加到了其余的动物中。形象是英雄原本不足的力量逐渐增强，直到最后最小的动物——老鼠（在某些版本中是甲虫）——提供了完成这一任务所需的最后一盎司额外力量。终于可以从地上夺取奖品了，他们可以围坐在一起享受欢乐的盛宴。
So fundamental is this pattern that it shapes even some of the simplest stories in the world. In the little Russian folk tale, The Turnip, a man plants a seed which grows into an enormous turnip. When it is fully grown (or ‘whole’), he tries to pull it out of the ground and cannot. We have the image of some great prize which cannot yet be secured because the hero is not yet adequate to the task. The man calls his wife, but even their combined strength is not enough. To help in the task, he then summons in turn a boy, a girl, a succession of animals, each adding to all the rest. The image is of the hero’s original inadequate powers being gradually built up, until at last the smallest animal of all – a mouse (in some versions a beetle) – provides the final extra ounce of strength necessary to do the trick. The prize can finally be wrested from the earth, and they can all sit round together having a joyful feast. Indeed the turnip proves so large that it will continue to provide them all with food for a long time to come.
释放赐生命的宝藏需要两个原则。显然，需要积累足够的实力。但是，除非英雄能够与周围的其他角色一起处于相互同情和合作的状态，否则这是不可能实现的。只有当链条绝对完整时（正如添加到链条上的每个链接越来越小的方式所强调的那样）才能赢得宝藏。
Two principles have been required to release the life-giving treasure. Obviously it needed the building up of a sufficiency of strength. But this could not have been achieved unless the hero had been able to join up with the other characters around him, in a state of mutual sympathy and co-operation. Only when the chain is absolutely complete (as is underlined by the way each link added to it is smaller and smaller) can the treasure be won.
换句话说，第一个基本原则是男性的权力和控制原则。第二个，允许达到潜在的完整状态，是女性的联系和结合。这是构建故事的两个基本原则。如果一个故事的主人公注定要成功，他就必须表现出完全的男子气概。他不能软弱无能。但他的阳刚之力绝不能是刚硬、僵化的。他一定不能以自我为中心封闭自己。他必须保持开放，以积极的方式将他与他人、与他之外的一切、与生命的流动联系起来。只有达到这种潜在的平衡状态，英雄才能准备好释放生命宝藏的解放时刻。
In other words, the first essential principle is the masculine one of power and control. The second, allowing the state of potential wholeness to be reached, is the feminine one of connection and joining together. Such are the two elemental principles around which stories are constructed. If the hero of a story is destined fully to succeed, he must be shown to be fully masculine. He cannot be weak and ineffectual. But his masculine power must not be hard and inflexible. He must not be egocentrically closed off within himself. He must be open, in ways which connect him positively with others, with all that is beyond him, with the flow of life. Only when this potential state of balance has been achieved is the hero ready for the moment of liberation when the life-giving treasure is released.
在一些故事中，我们可能会看到这个走向完整的过程几乎完全以英雄本人所发生的事情为象征。即便如此，当我们仔细观察时，我们会看到这两个必要的要素是如何参与的。丑小鸭一开始处于完全未发育、不成熟的状态。然后他看到了天鹅，就像遥不可及的完美和完整的景象。然后，他会经历长期的进一步考验和内在成长，直到他为他的高潮转变做好准备：然后我们看到他最终的、完全发展的状态，由两个元素组成。一方面，他已经达到了作为“王者”天鹅的主权成熟状态，表达了他充分发展的男性气质的力量和自主性。另一方面，他又是一个美丽、优雅的生物，在他内心表达出自然的本能完美，其中方程式的两个部分，即力量和赋予生命的平衡，永远不会分开。他已经达到了一种完整的状态，这意味着他最终与自己、与他的天鹅同伴以及与世界完全合一。
In some stories we may see this process of coming to wholeness symbolised almost entirely in terms of what is happening to the hero himself. Even so, when we look carefully, we see how both the necessary elements are involved. The Ugly Duckling begins in a completely undeveloped, immature state. He then sees the swans, like a distant vision of some unattainable perfection and wholeness. He then goes through a long period of further testing and inward growth, until he is ready for his climactic transformation: and we then see his final, fully-developed state made up of two elements. On the one hand, he has reached a state of sovereign maturity as a ‘kingly’ swan, expressing the strength and autonomy of his fully-developed masculinity. On the other, he is also a beautiful, graceful creature, expressing within himself the instinctive perfection of nature in which the two parts of the equation, both strength and its life-giving balance, are never separated. He has reached a state of completeness which means that he is at last entirely at one with himself, with his fellow swans and with the world.
但在大多数故事中，最终的完整形象都以男女主角的结合为中心。在这里，正如我们所看到的，随着故事接近结局，故事的情节最终被简化为本质上是三角的斗争。早些时候，我们从黑暗力量的角度来看待这一点，一方面，代表“黑暗男性能量”；另一方面，代表“黑暗男性能量”。另一方面，女主角代表“轻柔的女性”；而英雄则出现在他们之间，代表着两者之间的平衡。我们也可以换个角度来看，男主角在一边，女主角在另一边，代表着宝藏、生命，以及他需要完成的一切：而黑暗力量则站在他们之间，代表着他所需要的一切。克服和超越，以达到最终的完整状态。
But in most stories this final image of wholeness is centred on the union of the hero with the heroine. And here, as we have seen, the action of the story is eventually reduced, as it nears its ending, to what is essentially a three-cornered struggle. Earlier we looked at this in terms of the dark power, on one hand, standing for the `dark masculine’; the heroine, on the other, standing for the `light feminine’; and the hero, coming between them, representing the balance between the two. We can just as well see it another way, with the hero on one side and the heroine on the other, representing the treasure, life, all that he needs to be complete: while the dark power stands between them, representing all that has to be overcome and transcended in order for that final state of wholeness to be achieved.
无论我们从哪个角度来看，唯一重要的是是否可以通过适当的品质平衡来实现目标。当故事接近高潮时，这种三角斗争通常以三种方式之一呈现。
Whichever way we look at it, the only thing which matters is whether the right balance of qualities can be brought to bear to achieve the goal. And as the story nears its climax, this three-cornered struggle usually presents itself in one of three ways.
(1)平衡的英雄/被动的女主角
(1) Balanced hero/passive heroine
这种三边冲突的最基本形式是这样的故事类型：我们看到被动的女主人公在黑暗力量的魔掌中不知何故无助——被怪物囚禁的公主——而男主人公最终必须通过参与来证明自己。一场释放她的战斗。这样的女主角看似柔弱无助，但此时此刻，正是她的脆弱，凸显了事情的本质。与威胁她的坚硬、侵略性、“黑暗男性”力量完全相反，她代表着柔软、屈服、流动、充满爱的女性：这正是威胁人物完全缺乏的价值。当然，为了让她自由，英雄必须展示自己的男性力量。但对我们来说，当我们观看行动的展开时，同样重要的是，他不仅被视为一个强硬的人，面对无情的对手，他也洋溢着保护和同情的感觉，正是这一点让我们看到他是一个轻浮的人物，值得他的奖赏。他的力量得到了救赎并变得积极，因为它们被用于一项不以自我为中心的事业。因为他对自己内心的女性价值持开放态度，所以他能够与外部的女性价值结合并解放出来。因为他代表的不是自私和片面，而是一种平衡的状态，所以他能清楚地看到自己要做的事情，从而能够超越黑暗力量的限制，与自己的“另一半”结合在一起。最后，为了表明他所实现的内在和外在主权状态，我们看到他——像阿拉丁、珀尔修斯或奥德修斯一样——成功地统治了王国。
The most basic form of this three-sided conflict is the type of story where we see the passive heroine somehow helpless in the clutches of the dark power – the Princess imprisoned by the monster – and where the hero has finally to prove himself by engaging in a battle to release her. Such a heroine may seem weak and helpless, but at this moment it is precisely her vulnerability which points up the essence of what is happening. In complete antithesis to the hard, aggressive, ‘dark masculine’ power which is threatening her, she stands for the soft, yielding, flowing, loving feminine: precisely the value which the threatening figure so completely lacks. Certainly to set her free the hero has to demonstrate his own masculine power. But just as important to us as we watch the unfolding of the action is the fact that he is seen as not just a tough, masculine figure: unlike his heartless opponent he is also irradiated with protective and sympathetic feeling, and it is this which allows us to see him as a light figure, worthy of his prize. His strengths are redeemed and made positive because they are being used in a cause which is not egocentric. Because he is open to the feminine value within him, he is able to join up with and liberate the feminine outside him. Because he represents not egotism and one-sidedness but a state of balance, he can see clearly what he has to do, and is thus able to rise above the limitations of the dark power and to be united with his ‘other half’. And finally, to signify the state of inner and outer sovereignty he has achieved, we see him – like Aladdin, Perseus or Odysseus – succeeding to rule over the kingdom.
(2) 平衡的男主角/活跃的女主角
(2) Balanced hero/active heroine
故事的第二个版本是，最明显受到黑暗力量威胁的人物是英雄本人，而女英雄在解放他方面扮演了更积极的角色。在这里，我们更清楚地看到，女性赋予生命的力量本身如何帮助英雄达到最终的完整状态。当年轻的忒修斯到达克里特岛，面对他日益成熟的最后考验时，暴君米诺斯给他带来了两种考验，这两种考验以最致命、最消极的面貌展示了“黑暗男性气质”的各个方面。一方面，他必须面对半人半牛的牛头怪，代表着最无情的体力和力量：另一方面，他必须面对迷宫，里面有迷宫般的隧道和死胡同，代表了人类心灵在与生活隔绝时的秩序能力和看到整体的能力。忒修斯超越这种双重考验所需要的就是将这些事情转化为积极的品质，而这正是他在与女性的安全联系中，在他与阿里阿德涅的爱的联系中发现的。是她给了他杀死牛头怪的剑，赋予了他力量。她给了他生命线，将他从致命、令人窒息的迷宫中解放出来，使他能够“看到整体”，从而将他与现实世界的生命、光明和新鲜空气联系起来。因此，忒修斯植根于与充满爱意的女性的联系，最终能够达到自己的高度——让他回到家乡继承王国。忒修斯超越这种双重考验所需要的就是将这些事情转化为积极的品质，而这正是他在与女性的安全联系中，在他与阿里阿德涅的爱的联系中发现的。是她给了他杀死牛头怪的剑，赋予了他力量。她给了他生命线，将他从致命、令人窒息的迷宫中解放出来，使他能够“看到整体”，从而将他与现实世界的生命、光明和新鲜空气联系起来。因此，忒修斯植根于与充满爱意的女性的联系，最终能够达到自己的高度——让他回到家乡继承王国。忒修斯超越这种双重考验所需要的就是将这些事情转化为积极的品质，而这正是他在与女性的安全联系中，在他与阿里阿德涅的爱的联系中发现的。是她给了他杀死牛头怪的剑，赋予了他力量。她给了他生命线，将他从致命、令人窒息的迷宫中解放出来，使他能够“看到整体”，从而将他与现实世界的生命、光明和新鲜空气联系起来。因此，忒修斯植根于与充满爱意的女性的联系，最终能够达到自己的高度——让他回到家乡继承王国。是她给了他杀死牛头怪的剑，赋予了他力量。她给了他生命线，将他从致命、令人窒息的迷宫中解放出来，使他能够“看到整体”，从而将他与现实世界的生命、光明和新鲜空气联系起来。因此，忒修斯植根于与充满爱意的女性的联系，最终能够达到自己的高度——让他回到家乡继承王国。是她给了他杀死牛头怪的剑，赋予了他力量。她给了他生命线，将他从致命、令人窒息的迷宫中解放出来，使他能够“看到整体”，从而将他与现实世界的生命、光明和新鲜空气联系起来。因此，忒修斯植根于与充满爱意的女性的联系，最终能够达到自己的高度——让他回到家乡继承王国。
A second version of the story is that where the figure most obviously threatened by the dark power is the hero himself, and where the heroine plays a much more active role in liberating him. Here we see more explicitly how it is the life-giving power of the feminine which itself helps to draw the hero up to his final state of wholeness. When young Theseus arrives in Crete to face the final test of his burgeoning maturity, he is presented by the Tyrant Minos with two ordeals which show each of the aspects of the ‘dark masculine’ in its most deadly, negative guise. On the one hand, he has to face the Minotaur, half-man, half-bull, representing physical strength and power at its most heartless: on the other, he has to face the Labyrinth, with its maze of tunnels and dead ends, representing the ordering faculty of the human mind when it is cut off from life and the ability to see whole. What Theseus requires to rise above this double-test is the quality to turn each of these things into its positive, and it is this which he finds in his secure link to the feminine, in his loving bond with Ariadne. It is she who brings his strength to life by giving him the sword to slay the Minotaur; and she who gives him the vital thread which will liberate him from the deadly, suffocating Labyrinth, by enabling him to ‘see whole’ and thus connecting him back to life, light and the fresh air of the real world. Thus rooted in his link to the loving feminine, Theseus is finally able to rise to his full stature – fitting him on his return home to succeed to the kingdom.
从女主角的角度来看（1）和（2）
(1) and (2) from the heroine’s point of view
我们可以从女主人公本人的角度来看待这两种类型的故事，在故事中，她而不是男主人公是中心人物。在灰姑娘、睡美人或白雪公主等童话故事中在《黑暗女性》中，我们看到了一位美丽、温柔、完全女性化的女主人公，她被动地在监禁的阴影中煎熬，她被“黑暗女性”、邪恶的继母、女巫或坏仙女安置在监狱的阴影中。在每种情况下，要实现她的解放，都需要一个英俊、充满爱心的英雄，他能够准确地将所缺乏的元素引入方程式，以克服“黑暗女性”的消极、不平衡、无爱的力量——即男性力量之所以优越，是因为它是平衡的，并且对真正的女性开放。
We may see either of these types of story from the point of view of the heroine herself, in stories where she, rather than the hero, is the central figure. In such fairy tales as Cinderella, Sleeping Beauty or Snow White, we see a beautiful, gentle, entirely feminine heroine who is passively languishing in the shadows of the imprisonment where she has been placed by the ‘dark feminine’, a wicked stepmother, witch or bad fairy. What is required in each case to bring about her liberation is a handsome loving hero who can introduce into the equation precisely the element which is lacking, and which is necessary to override the negative, unbalanced, unloving power of the ‘dark feminine’ – namely masculine strength which is superior because it is balanced and open to the true feminine.
在女主人公处于“活跃”状态的故事中，例如《简·爱》、《冰雪女王》或《费德里奥》，以及男主人公最明显地陷入监禁状态的故事中，平衡的女主人公本人引入了力量的元素。这是释放他并使他恢复正常男性状态所必需的——尽管她只是在对英雄的爱的激励下才获得了全部的力量和地位。
In stories where the heroine is ‘active’, such as Jane Eyre, The Snow Queen or Fidelio, and where it is the hero who has most obviously fallen into the state of imprisonment, it is the balanced heroine herself who introduces the element of strength which is necessary to release him and to restore him to his proper masculine state – even though she has only been brought up to her own full strength and stature by the inspiration of her love for the hero.
(3) 黑暗英雄/光明女主角
(3) Dark hero/light heroine
当我们看到那些英雄本人就是故事中主要的黑暗人物的故事时，就会出现第三种变化。在这里，三角之战本质上必须在他自己分裂的个性中进行。英雄可能最明显地陷入了“黑暗男性能量”的掌控，在这种情况下，他是强大的、专横的和无情的；他可能已经被“黑暗女性”所附身，在这种情况下，他显然是软弱和被动的；或者他可能同时受到两者的控制，因此他的行为不稳定，以一种软弱、奸诈的方式利用他的男子气概。无论如何，可以肯定的是，他无法与真正的女性接触：他的行为以自我为中心，因为他没有能力去感受他人或看到整体。正是通过这些缺陷，由于讲故事的不可阻挡的逻辑，他陷入了走向灾难的悲惨螺旋式下降。他无法同情他人，导致他与周围的人逐渐孤立和疏远，以至于他们（或幸存者）逐渐与他对立。他无法看到整体，这意味着他会陷入日益曲折的误判迷宫，这是任何黑暗英雄的特征，因为他越来越远离现实，进入一厢情愿的幻想世界。
The third variation arises when we come to those stories where the hero is himself the chief dark figure of the tale. Here the three-cornered battle has to be fought out essentially within his own divided personality. The hero may have most obviously fallen into the grip of the ‘dark masculine’, in which case he is strong, domineering and ruthless; he may have become possessed by the ‘dark feminine’, in which case he is most obviously weak and passive; or he may be in the grip of both, so that he behaves erratically, using his masculinity in a weak, treacherous way. In any respect, the one thing that is certain is that he is unable to make contact with the true feminine: he behaves egocentrically because has not got the capacity to feel for others or to see whole. And it is precisely through each of these deficiencies that, by the inexorable logic of storytelling, he gets caught up in the tragic downward spiral towards catastrophe. His inability to feel for others leads him to become progressively isolated and estranged from those around him, so that they (or those who survive) gradually constellate in opposition to him. His inability to see whole means that becomes enmeshed in that increasingly tortuous labyrinth of misjudgements which characterises any dark hero, as he is carried ever further from reality into the fantasy world of wishful thinking.
这就是为什么任何一个故事中的英雄都是黑暗的，都显示他从不断增加的挫败感进入噩梦状态的真正原因。当他的自我中心驱使他越来越陷入外部和内部的孤立时，他所反抗的世界的现实向他逼近，直到他被困住。他面临着最后的危机。在这样的时刻，他唯一不陷入最终灾难的希望就是，他的困境所带来的可怕压力最终会迫使他摆脱导致他陷入这样的困境的有限意识状态，并接触到更深层次的意识。他人格的中心，使他能够看到自己处境的客观真相，并重新与他人建立生动的联系。如果他能做到这一点，就像莱昂特斯、阿尔马维瓦伯爵、拉斯科尔尼科夫或皮尔·金特那样，我们看到了内在和外在转变的非凡时刻，这标志着全面性的到来。从内心黑暗力量的掌控中解放出来后，他发现自己身份的核心，即被解放的内在自我，与他内在和外在的充满爱意的女性密不可分。这一刻，他的男子气概不再阴暗。而这正是他的另一半从阴影中走出来，与整个世界融为一体的时刻。
This is the real reason why any story in which the hero is dark shows him moving through mounting frustration into a state of nightmare. As his egocentricity drives him increasingly into outward and inward isolation, the reality of the world he has defied closes in on him until he is trapped. He faces the final crisis. And at such a moment his only hope of not plunging on to final disaster is that the terrifying pressure of his plight may at last force him out of the limited state of consciousness which has brought him to such a pass, and into contact with that deeper centre of his personality which can enable him to see the objective truth of his situation and to be brought back into living contact with others. If he can do this, like Leontes or Count Almaviva or Raskolnikov or Peer Gynt, we see that extraordinary moment of inward and outward transformation which marks the coming to wholeness. Liberated from the grip of the dark power within himself, he discovers that the heart of his identity, the inner self which has been liberated, is inextricably identified with the loving feminine, both within and outside him. At this moment his masculinity is no longer dark. And this is precisely the moment when his other half emerges from the shadows to join him up with all the world.
(4) 黑暗女主角/光明英雄
(4) Dark heroine/light hero
更罕见的是，我们看到同样的故事，女主角性格阴暗，变得冷酷、自我中心、霸道，就像莎士比亚笔下的泼妇艾玛一样。《秘密花园》中的沃德豪斯、特雷西·洛德或玛丽·克雷文。她们个性坚强，但无情又盲目，与内心的女性气质隔绝。这些女主角中的每一位都需要一个完美平衡男性力量、爱心和洞察整体的能力（特别是察觉女主角自己压抑的内在女性气质）的英雄。这正是彼特鲁乔、奈特利先生、德克斯特·黑文和年轻的迪肯所代表的。结果是，女主人公从占据她并使她与世界隔绝的“黑暗男性气质”中解放出来；她真正的女性自我从阴影中显现出来，使她焕发活力，使她变得完整；她第一次快乐地与周围的一切和生活融为一体。
More rarely, we see the same kind of story where it is the heroine who is dark and has become hard, self-centred and domineering, like Shakespeare’s Shrew, Emma Wodehouse, Tracy Lord or Mary Craven in The Secret Garden. Their personalities are strong, but they are heartless and blind, cut off from their inner feminine. What each of these heroines requires is a hero who is a perfect balance of masculine strength with a loving heart and the capacity to see whole (in particular to perceive the heroine’s own repressed inner femininity). This is precisely what Petruchio, Mr Knightley, Dexter Haven and young Dickon represent. The result is that the heroine is liberated from the ‘dark masculine’ which has possessed her and isolated her from the world; her true feminine self emerges from the shadows to bring her alive and make her whole; and for the first time she is happily at one with all around her and with life.
因此，我们来到了一个中心目标——无论能否实现——所有故事的讲述最终都围绕这个目标展开。
So we come to the central goal around which – whether or not it can be reached – all storytelling ultimately revolves.
宇宙的幸福结局
The cosmic happy ending
故事中最高的解放时刻很可能恰好发生在男女主角身体和精神上最终结合在一起、在压倒性的爱中相互融合的那一刻。我们看到这样一个时刻：奥德修斯经历了所有的旅程、所有的磨难，最终在与求婚者的伟大战斗中达到顶峰，他终于可以将他深爱的佩内洛普紧紧地抱在怀里，他们之间不再有一丝阴影：
The supreme moment of liberation in a story may well come at precisely that point where the hero and heroine are finally brought physically and spiritually together, melting into each other in an act of overwhelming love. We see such a moment when, after all his journeyings, all his ordeals, culminating in the great battle with the suitors, Odysseus can at last clasp his loving Penelope to him with no longer a trace of shadow between them:
“佩内洛普的投降融化了奥德修斯的心，他把亲爱的妻子抱在怀里哭泣，如此忠诚和真实。”
‘Penelope’s surrender melted Odysseus’s heart, and he wept as he held his dear wife in his arms, so loyal and so true.’
我们看到这样一个时刻，赫敏冰冻的雕像融化了，她从基座上走下来，拥抱她悔悟的莱昂特斯。我们看到这样一个时刻，王子穿过荆棘篱笆，找到了城堡中心隐藏的小房间，最终用一个吻唤醒了睡美人。但王子刚这样做完，一系列非同寻常的其他事件就开始在他们周围展开。整个城堡里，每一个同样被冻结在睡梦中的男人、女人、孩子和动物都开始苏醒。从国王和王后以下，全家人都高兴地醒来，恢复了生机。
We see such a moment when the frozen statue of Hermione thaws into life and she steps down from her pedestal to embrace her contrite Leontes. We see such a moment when the Prince, having penetrated the hedge of thorns and found his way to the little hidden room at the heart of the castle, finally wakens the Sleeping Beauty with a kiss. But no sooner has the Prince done this than an extraordinary sequence of other events begins to unfold around them. All over the castle, every man, woman, child and animal that has also been frozen in sleep begins to stir. From the King and Queen downwards, the whole household awakens joyfully back to life.
到目前为止，我们几乎完全关注故事中中心人物发生的事情。我们专注于讲故事的伟大中心主题，因为它可以从不同的角度来看：故事的男女主人公为实现完整性和个人成就的最终目标而努力。但现在必须引入最后一个极其重要的元素来完成这幅图画：那就是正在上演这一个人救赎戏剧的更广泛的背景。因为男女主人公个人戏剧的结果往往会产生影响，影响到的不仅仅是他们自己。
Up to this point we have been looking almost entirely at what happens to the central characters in a story. We have concentrated on that great central theme of storytelling, as it may be seen from different angles: the working of the hero or heroine of the story towards some ultimate goal of wholeness and personal fulfilment. But a last enormously important element must now be brought in to complete the picture: and that is the wider context in which this individual drama of salvation is being worked out. For the outcome of the personal drama of the hero and heroine often has repercussions which affect many more people than just themselves.
事实上，我们几乎从来没有在故事中看到男女主角孤立的画面。我们通常在一个由其他人组成的团体或社区中遇到他们——一个家庭、一个家庭、一个城镇、一个城市、一个国家、一个王国。这就是故事所想象的“小世界”，而且几乎无一例外都是一个世界。从某种程度上来说，“时间错位了”，有些事情已经严重不对劲了。统治秩序不再发挥良性、和谐或不受挑战的影响力。国王或一家之主，权力的中心，可能已经成为暴君。可能是他很虚弱，或者生病了，或者缺席——或者他的权威被黑暗对手篡夺了。可能是王国以外的某些怪物或其他黑暗势力入侵并威胁其安全。结果就是事情变得混乱，生活不再平静、幸福。无论我们是在看奥德修斯的伊萨卡还是法罗亚的埃及，贝奥武夫的希奥罗还是夏洛克的威尼斯，亚瑟王的英国还是罗宾汉的英格兰，灰姑娘的家庭还是阿尔马维瓦伯爵的家庭，鲁滨逊漂流记的岛屿还是睡美人的城堡，《战争与和平》或者《三个火枪手》中的法国，《埃比尼泽·斯克鲁奇》中的小“王国”，或者《愤怒的回顾》中吉米·波特的小“王国”，《大白鲨》中的友好小社区，或者《星球大战》中的整个银河系，都是同一个故事。冲突和混乱的状态已经出现，分裂和不满占据统治地位。而这是因为故事所呈现的小世界在某种程度上已经陷入了黑暗力量的阴影之下。
In fact we are almost never presented in a story with a picture of the hero or the heroine in isolation. We usually meet them in the context of a group or community of others – a family, a household, a town, a city, a country, a kingdom. This is the ‘little world’ conjured up by the story, and it is almost invariably a world in which, in some way, ‘the time is out of joint’, something has gone badly amiss. The ruling order no longer exercises benign, harmonious or unchallenged sway. It may be that the king or the head of the household, the centre of authority, has become a Tyrant. It may be that he is weak, or has fallen sick, or is absent – or that his authority has been usurped by a Dark Rival. It may be that some monster or other force of darkness from outside the kingdom has intruded to threaten its security. The result is that things are in disarray, life is no longer flowing peacefully and happily. Whether we are looking at Odysseus’s Ithaca or Phaoroah’s Egypt, Beowulf’s Heorot or Shylock’s Venice, King Arthur’s Britain or Robin Hood’s England, the household of Cinderella or that of Count Almaviva, Robinson Crusoe’s island or Sleeping Beauty’s Castle, the Russia of War and Peace or the France of The Three Musketeers, the little ‘kingdom’ of Ebenezer Scrooge or that of Jimmy Porter in Look Back in Anger, the little community of Amity in Jaws or the entire galaxy in Star Wars, it is the same story. A state of conflict and confusion has arisen, division and disaffection rule. And this is because the little world presented by the story has fallen in some way under the shadow of the dark power.
在这种普遍不和谐的背景下，我们看到故事中的男女主人公有意识或无意识地走向他们自己的个人决心时刻。我们看过的几乎每个故事都围绕两种一般情况之一。
Against this background of general disharmony we see the hero or the heroine of the story moving, consciously or unconsciously, towards their own moment of personal resolution. And almost every story we have looked at has centred round one of two general situations.
首先，有一种故事类型，向我们展示了一个本质上是光明的英雄或女主人公，他们在故事的大部分时间都处于黑暗力量的阴影下，因为黑暗力量来自于他们之外的某些来源。他们正在奋斗、发展、努力，走向最终的高潮时刻，天平终于被倾斜，黑暗势力被推翻，他们终于从阴影中走向光明。
Firstly there is the type of story which shows us an essentially light hero or heroine who spends most of the story under the shadow of the dark power as it emanates from some source outside them. They are struggling, developing and working towards that eventual climactic moment when the scales can be finally tipped, the dark power can be overthrown and they can at last emerge from the shadows into the light.
另一种类型的故事是，主人公或女主人公本身就是主要的黑暗人物，给别人蒙上阴影。在这种情况下，光明、救赎的元素最终从阴影中出现，推翻了黑暗，并以完整的最终形象结束了故事。
The other type of story is that which shows the hero or the heroine as themselves the chief dark figure, casting a shadow over others. In this case also, the light, redeeming element eventually emerges from the shadows to overthrow the darkness and to end the story on a final image of wholeness.
换句话说，无论我们从哪个角度看这部剧，故事中发生的事情的本质都是一样的。我们看到一个两极分化的世界，一个是占主导地位的“上层世界”，在故事的大部分内容中，黑暗力量占据上风——以自我为中心、无情和有限的意识；另一个是“上层世界”。以及一个包含完整潜力的低等“阴影领域”。最终，当一切都安排妥当后，故事中的天平倾斜，光的中心从阴影中显现出来，拯救了腐败的上层世界，结束了分裂，让一切最终进入了完美的平衡与和谐的状态。这不仅意味着男女主角本身，也意味着故事世界中他们周围所有被抛入阴影的人（只要他们还活着）。
In other words, from whichever perspective we view the drama, the essence of what is happening in the story remains the same. We see a world polarised between a dominant ‘upper realm’ in which for most of the story the dark power has the upper hand – with its egocentricity, heartlessness and limited consciousness; and an inferior ‘shadow realm’ which contains the potential for wholeness. Eventually, when all has been properly constellated, the scales tip and the centre of light in the story emerges from the shadows to redeem the corrupted upper world, to end division and to bring everything at last into a state of perfect balance and harmony. And this means not just for the hero and heroine themselves, but for everyone else around them in the world of the story who has been thrown into shadow (so long as they have survived).
因此，我们留下了故事可以描述的事物一般状态的两个压倒性的图像。第一个表现的是黑暗势力笼罩下的人类事务，处于优柔寡断、不确定和不完整的状态；这种状态可能有四个特点：
We are thus left with two overriding images of the general state of things which stories can describe. The first shows human affairs under the shadow of the dark power, in a state of irresolution, uncertainty and incompleteness; and such a state may be characterised by four things:
(1) the aggressive and oppressive use of power;
（二）秩序混乱、不正常的；
(2) disorder and things not being as they should be;
（三）事物被遮挡或者隐藏，使人看不清或者看不到全部的；
(3) things being obscured or hidden, so that no one can see clearly or whole;
(4) 缺乏适当的感情、爱或相互的感情。
(4) a lack of proper feeling, love or mutual affection.
当人类事务陷入这种病态时，它们不仅会保持静止状态，还会进一步陷入混乱和消极状态，直到陷入灾难，或者发生某种事情来打破黑暗咒语并扭转这种趋势。
And when human affairs fall into such a state of sickness they have a tendency not just to remain static but to sink further into chaos and negativity until either they reach a catastrophe, or something happens to break the dark spell and to reverse the tendency upwards.
如果发生这种情况，我们可能会看到另一种普遍状态，即在许多故事的结尾处呈现给我们的愿景，其中阴影被驱散，一切都突然奇迹般地变得正确。这意味着：
If this happens we may then see the other general state, that vision which is held out to us at the end of so many stories where the shadows are dispelled and where everything has suddenly and miraculously come out right. This means that:
(1) 权力最终在适当的授权下得到明智和公正的行使；
(1) power is at last being exercised wisely and justly, under proper authority;
（二）真正从混乱中出现和谐有序的状态；
(2) a true harmonious state of order has emerged out of chaos;
（三）被遮蔽、隐藏或者不被认识的事情已经暴露的；
(3) things obscured, hidden or not recognised have come to light;
(4) 人类团结在一个和解、友谊、爱的欢乐共同体中。
(4) human beings are joined together in a joyful community of reconciliation, friendship and love.
换句话说，我们在这个故事的结尾看到的是从黑暗到光明、从消极到积极的转变，在构成完美平衡状态的所有四个方面：权力、秩序、意识和感觉。就更广泛的社区而言，即故事的“世界”，这意味着：
In other words, what we see emerging at the end of such a story is a transformation from darkness to light, from negative to positive, on all four of the counts which go to make up a state of perfect balance: power, order, awareness and feeling. And in terms of the wider community, the ‘world’ of the story, this means that:
(1) 现任统治者再次能够正常行使权力；或者一个新的统治者出现来取代他的位置——就像英雄“继承王国”一样；
(1) either the existing ruler has once again been enabled to exercise his power properly; or a new ruler has emerged to do so in his place – as when the hero ‘succeeds to the kingdom’;
（2）曾经变得压抑或瓦解的秩序框架再次以一种活泼的、包容性的方式结合在一起，以便社会的所有成员彼此之间建立适当的关系；家人团聚；所有错位或丢失的东西都已恢复到应有的位置；
(2) the framework of order which had either become oppressive or had dis-integrated has again knit together in a living, all-embracing way, so that all members of the community are in proper relationship with one another; families are reunited; everything out of place or lost has been restored to where it should be;
（3）每个人最终都能看得清楚、完整，因为不再隐藏任何重要的东西；人们已经发现了他们需要知道的一切，包括他们自己的真实身份；
(3) everyone can at last see clearly and whole because nothing important any longer remains hidden; people have discovered everything they need to know, including their own true identities;
（4）本着普遍和谐与爱的精神，作为每个人问题根源的自私和分裂终于被超越了。
(4) the egotism and division which lay at the root of everyone’s problem has at last been transcended, in a spirit of universal harmony and love.
如果一个故事能够达到所有这些事情同时发生的地步（而且它们是如此相互依存，以至于它们只能或多或少地同时发生），我们就会瞬间看到一个完全一体的人类共同体，从每一个因素中解放出来。影子的痕迹。从不完整到完整的转变的核心在于一个人的转变，即故事的中心人物。其他一切都围绕着他或她努力实现个人平衡和自我实现的状态：因此，没有什么比一个男人和一个女人走到一起更能完整地象征更广阔的世界所发生的非凡事情了。创造一个新的、完美的整体，某种无限联合状态的缩影，闪耀着生命、光明和对未来的希望。
If a story can reach the point where all these things have happened together (and they are so interdependent that they can only happen more or less together), we are given a momentary glimpse of a community of human beings entirely at one, liberated from every trace of shadow. And at the heart of this transition from incompleteness to wholeness has lain the transformation of just one individual, the central figure of the story. It has been around his or her working towards a state of individual balance and self-realisation that everything else has centred: so that nothing more completely symbolises the extraordinary thing that has happened to the wider world than the bringing together of a man and a woman to make a new and perfect whole, the microcosm of some infinite state of union, shining with life, light and hope for the future.
这是故事所能追求的最完全积极的结局。人类的想象力自古以来一直以这种方式塑造故事，这意味着什么？为了开始回答这个问题，我们必须再次审视那些在许多故事中出现在男女主人公和他们的目标之间的伟大的影子存在，如果要达到目标，就必须以某种方式超越他们。我们现在可以检验这些人物——黑暗父亲、黑暗母亲、黑暗对手、黑暗另一半——真正代表什么；它们如何组合在一起；以及他们在故事中与男主角或女主角的转变有何实际关系。事实上，我们现在可以看到黑暗人物在讲故事中的真正功能和目的。
Such is the most completely positive ending that stories can aspire to. What does it mean that the human imagination has down the ages so consistently shaped stories in this way? To begin to answer this we must look again at those great shadowy presences who appear between the hero or heroine and their goal in so many stories, and who somehow have to be transcended if the goal is to be reached. We are now in a position to examine what these figures – the Dark Father, the Dark Mother, the Dark Rivals, the Dark Other Half – really stand for; how they fit together; and how they actually relate to the hero or the heroine’s transformation during the story. In fact we can now see the real function and purpose which the dark figures serve in storytelling.
第16章
未实现的价值
Chapter 16
The Unrealised Value
“光明需要黑暗才能变得清晰。”
‘The light needs the dark to become articulate.’
劳伦斯·惠斯勒，玻璃上的场景和标志
Laurence Whistler, Scenes and Signs on Glass
世界各地的神话和民间故事的一个显着特征是它们的中心人物往往是孤儿。尤其是在故事的开头，我们常常会遇到一个没有父亲的小英雄，或者没有母亲的女主角。《杰克与魔豆》中的英雄阿拉丁、珀尔修斯、忒修斯都是父亲去世或缺席的英雄的常见例子，他们的故事开始于与母亲独自生活。灰姑娘和白雪公主是故事开始前后不久失去母亲的女主人公的例子。
A striking feature of the myths and folk tales of the world is how often their central figure is an orphan. In particular, at the beginning of a story, we often meet a little hero without a father or a heroine without a mother. Aladdin, Perseus, Theseus, the hero of Jack and the Beanstalk are all familiar examples of heroes with dead or absent fathers, who begin their story living alone with mother. Cinderella and Snow White are instances of heroines who lose their mothers, shortly before or after the story begins.
因此，我们以一个家庭场景开始故事，其中一个主要人物明显缺席：在所有这些例子中，都是同性的父母作为中心人物。接下来发生什么？
We thus begin the story with a family scene in which one major figure is conspicuously absent: in all these examples, the parents of the same sex as the central figure. What happens next?
在阿拉丁一位神秘的年长男子出现，巫师，他自称是死去父亲失散多年的兄弟，最初似乎是英雄失去父亲的替代者。他说他会按照他父亲的意愿照顾这个男孩。但这个阴暗的人物却成为了整个故事中英雄的主要对手。珀尔修斯发现自己有一个邪恶的继父，暴君波吕得克忒斯，他试图将珀尔修斯的注意力转移到珀尔修斯的母亲达那厄身上。正是他送男孩走上危险的考验之路，构成了这个故事。忒修斯最终发现自己面对的是暴君米诺斯。杰克爬上豆茎，面对的是巨人高大、充满威胁的身影，他得知巨人杀死了他的亲生父亲，并剥夺了杰克的合法继承权。
In Aladdin a mysterious older man appears, the Sorcerer, who claims to be the dead father’s long-lost brother, and who seems initially to be a replacement for the hero’s lost father. He says he will look after the boy as his father would have wished. But this shadowy figure then turns out to be the hero’s chief antagonist throughout the tale. Perseus finds himself with a wicked would-be stepfather, the tyrant king Polydectes, who is trying to force his attentions on Perseus’s mother Danae. It is he who sends the boy off on the trail of perilous ordeals which make up the story. Theseus eventually finds himself confronted by the tyrant king Minos. Jack climbs the beanstalk and is faced by the towering, threatening figure of the giant, who he learns has killed his real father and dispossessed Jack of his rightful inheritance.
因此，在每种情况下，故事的中心关键都在于年轻英雄和一个成年男子之间的斗争，后者作为黑暗父亲形象或暴君，是一开始缺席的父亲的负面版本。当英雄经过长期的挣扎，最终结束他的冒险时，会发生什么呢？在每种情况下，英雄最终都设法推翻了这个黑暗人物：阿拉丁杀死了巫师；珀尔修斯杀死波吕得克忒斯；忒修斯杀死了米诺斯可怕的代表牛头怪，杰克杀死了巨人。然后我们看到阿拉丁终于成长为一个完全成熟的男人，与他解放的公主完全结合并继承了她父亲的王国。珀尔修斯和忒修斯同样有将她们的公主从黑暗力量的阴影中解放出来，并继承了她们的王国。杰克赢得了巨人的宝藏，尽管他最终返回与母亲住在一起（这仅表明这是一个旨在向年幼的孩子讲述故事的版本），但我们不再将他视为无所事事的好人——一开始他是一个一无所有、依赖的男孩，但作为一个独立、强大的年轻人，凭借自己的力量，他赎回了父亲失去的遗产，赢得了一笔巨大的财富，现在有能力保护和照顾他的母亲。
The central key to the story thus lies, in each case, in the struggle between the young hero and a fully-grown man who, as a Dark Father-figure or Tyrant, is a negative version of the father absent at the beginning. And when, after a long period of struggle, the hero at last comes to the end of his adventures, what happens? In each case the hero finally manages to overthrow this dark figure: Aladdin kills the Sorcerer; Perseus kills Polydectes; Theseus kills Minos’s terrible representative, the Minotaur, Jack kills the giant. And we then see Aladdin, having at last grown up into a fully mature man, fully united with the Princess he has liberated and succeeding to her father’s kingdom. Perseus and Theseus have likewise liberated their Princesses from the shadow of the dark power and succeeded to their kingdoms. Jack has won the Giant’s treasures and, even though he returns at the end to live with mother (which merely shows that this is a version of the story intended to be told to very young children) we no longer see him as the idle, good-for-nothing, dependent boy he was at the beginning, but as an independent, powerful young man in his own right, who has redeemed his father’s lost inheritance, won a great treasure and is now capable of protecting and looking after his mother.
在每一个案例中，我们都看到一个小男孩最明显缺乏的是一个坚强、慈爱的父亲。然后他就面临着这种情况的消极版本，一个强大但以自我为中心、没有爱心的男性权威人物。最后，在杀死了这个人物之后，他自己也变成了他所推翻的那个人物的轻松而积极的版本。英雄已经成为一个强大、独立、成熟的男人，但同时——与他的黑暗对手不同——他是完整的，既坚强又充满爱心。
In each case we have seen a young boy whose most conspicuous lack was a strong, loving father. He has then been confronted with the negative version of this, a powerful but egocentric, unloving male authority-figure. And at the end, having killed off this figure, he has himself been transformed into a light and positive version of the figure he has overthrown. The hero has become a powerful, independent, fully-grown man, but at the same time – unlike his dark antagonist – he is whole, both strong and loving.
在《灰姑娘》和《白雪公主》的故事中，以女主人公为中心人物，一旦她们失去了真正慈爱的母亲，我们就会看到熟悉的模式：邪恶的继母到来，残忍、奸诈、虚荣，她随后成为了故事的主要黑暗人物。再次，作为一个成熟的女性、母亲或女王，她代表了女主人公最终注定成长为的消极、无爱、以自我为中心的版本。最后，当女主人公经历了漫长的成熟转变，最终从王子黑暗力量的掌控中解放出来时，她终于凭借自己的能力成为了一位完美的潜在母亲和女王，适合与他一起成功。她的王子统治王国。
In the stories of Cinderella and Snow White, where the heroine is the central figure, once they have lost their true, loving mothers, we see the familiar pattern in the arrival of the wicked stepmother, cruel, treacherous and vain, who then becomes the chief dark figure of the story. Again, as a fully-grown woman, mother or queen, she represents the negative, unloving, egocentric version of what the heroine herself is eventually destined to grow up into. When, at the end, the heroine has been through her long maturing transformation and is finally liberated from the grip of the dark power by the Prince, she has at last become a perfect potential mother and queen in her own right, fit to succeed alongside her prince to rule over the kingdom.
因此，在所有这些故事中，主要的黑暗人物向我们发出了阴暗、消极的信号，而这正是英雄或女主人公最终必须使自己变得完全积极的一面。事实上，正如我们将看到的，黑暗人物的本质给了我们一个直接的、无意识的线索，告诉我们需要将什么转化为积极的、轻松的版本，以使故事达到幸福的结局，这一原则适用于每个故事种类。这是黑暗人物在整个故事讲述过程中发挥作用的关键。一旦我们学会认识到这一原则是如何微妙而一致地发挥作用，故事讲述的核心戏剧就会以一种非凡的新方式展开。
In all these stories the chief dark figure thus signals to us the shadowy, negative version of precisely what the hero or heroine will eventually have to make fully positive in themselves. In fact, as we shall see, this principle whereby the nature of the dark figures gives us a direct, unconscious clue as to what needs to be transformed into its positive, light version for the story to reach a happy ending applies in stories of every kind. It is the key to the function played by the dark figure throughout storytelling. And once we learn to recognise how subtly and consistently this principle works, the drama which lies at the heart of storytelling opens up in a remarkable new way.
典型的家庭剧
The archetypal family drama
对于故事来说，没有什么主题比追踪小英雄或女主人公从不成熟、依赖的童年到独立成熟的最终状态（他或她与完美的“另一半”结合）的成长过程更熟悉的了。在那里，我们可以让这对新婚夫妇放心，一些极其重要的模式已经得到了适当的解决。
There are few themes more familiar to stories than that which traces the growing up of a little hero or heroine from immature, dependent childhood to some ultimate state of independent maturity, where he or she is united with a perfect ‘other half’. There we can leave the newly-established couple with the reassurance that some profoundly important pattern has come to its proper resolution.
正如我们所指出的，从字面意义上讲，我们发现故事的结局如此令人满意，这似乎很奇怪，因为在现实生活中，婚姻远非如此。一个结局。这是一个新的开始，也许只是人类生命中最长时期的序言。
On a literal level, as we have noted, it might seem odd that we should find this so satisfying an ending to a story, since in real life marriage is far from being an ending. It is a new beginning, which may be merely the preface to the longest period of a human life.
然而，就我们最深层的本能而言，这显然符合生活中最基本、最普遍的模式之一。如果我们环顾自然王国，我们就会在每一种生命形式中看到一种超越一切的冲动。从原生动物到高等灵长类动物，每个物种最关心的核心问题是繁衍同类，以便生命链得以延续。对于大多数生命形式来说，这需要一个绝对基本的过程。每个生物一旦诞生，就必须进化成熟到可以与异性交配的程度，以保证下一代的诞生；并且，在高等生命形式中，然后必须确保这些新生的幼崽得到培育并提供条件，使他们能够成长到准备继续这一过程的程度。实现这一目标的动力和实现这一目标所需的“知识”框架都被本能地编程到每个依赖有性生殖的物种中，作为其遗传遗传的核心事实。对此，人类显然也不例外。
Nevertheless, in terms of our deepest instincts, this obviously corresponds to one of the most basic and universal patterns in life. If we look around the natural kingdom, we see one impulse in every form of life which transcends everything else. From the protozoa to the higher primates, the central underlying concern of each species is to reproduce its kind, so that the chain of life can continue. And in the majority of life-forms this requires an absolutely fundamental process. Each individual creature, once it is born, must evolve and mature to the point where it can mate with another of the opposite sex, to ensure the birth of the next generation; and, in the higher life forms, must then ensure that those newly-born young are nurtured and provided with the conditions which can enable them in turn to grow up to the point where they are ready to continue the process. Both the drive to do this and the framework of ‘knowledge’ necessary to achieve it are instinctively programmed into every species which relies on sexual reproduction, as the central fact of its genetic inheritance. To this the human race is obviously no exception.
每个人出生在这个世界上都是从孩童时期开始的，有父亲和母亲。如果要满足遗传的要求，要延续生命的链条，孩子就必须长大，离开家庭，并最终找到一个伴侣，与他一起建立一个新家，作为新生命产生的新中心。每一个世代，生命的传承，都必须上演这样的戏剧：儿子走出父母的阴影，与妻子结合，承担起父亲的角色；女儿走出父母的阴影，与丈夫团聚，成为母亲。
Every human being born into the world begins as a child, with a father and a mother. If the genetic imperative is to be fulfilled and the chain of life is to continue, the child must grow up, leave home and eventually find a mate with whom to establish a new home as a new centre for the generation of new life. In every generation, for life to be handed on, this is the drama which must be enacted: the son emerging from the shadow of his parents, to be united with a wife and take on the role of father; the daughter emerging from the shadow of her parents, to be united with a husband and become a mother.
因此，我们在戏剧中看到了四个角色，随着剧情的展开，角色之间的相互作用也在不断变化：首先是父亲和母亲；然后是父亲和母亲。然后是孩子，长大成人；最后是“另一半”，需要将整个过程带回到起点，即创建一个新的孩子。在这里，嵌入了我们最深、最强大的本能驱动力的网络中，是所有人类关系中最基本的。当我们考虑故事中不断出现的主要“黑暗人物”时，我们已经开始了解他们如何与这部原始戏剧中的四个人物相对应。
We thus see essentially four characters in the drama, with a changing interplay of roles as the process unfolds: first the father and mother; then the child, growing up to adulthood; and finally the ‘other half’, necessary to bring the whole process back to its starting point, with the creation of a new child. Here, embedded in a web of our deepest and most powerful instinctual drives, are the most basic of all human relationships. And when we consider the main ‘dark figures’ who continually recur in stories, we have already begun to see how they correspond to each of the four figures in this primordial drama.
首先是我们看到的年长者，他是黑暗父亲形象或暴君。他权力很大，经常拥有一家之主或统治者的权威，但他却无情，只利用自己的权力来统治别人。因此，他被视为完全反对生命的流动。
First there is the older man whom we see as the Dark Father-figure or Tyrant. He is powerful, often holding authority as the head of a household or a ruler, but he is heartless, using his power only to dominate others. He is thus seen as completely opposed to the flow of life.
其次，我们将年长的女性视为黑暗母亲形象、黑暗女王或女巫。她是一个更复杂的人物，因为从外表上看，她似乎具有“女性化”的属性。她可能会表现出关心或保护的态度。她可能以女巫的身份拥有远见、直觉的力量，能够看到事物表面背后隐藏的现实。但她并不比黑暗之父更具真正的“女性”属性，即对他人的无私情感和“看到整体”的能力。因此，她“女性化”的外表是危险的。在内心深处，就像黑暗之父一样，她完全以自我为中心，被“男性”的权力和统治欲望所占据。
Secondly there is the older woman whom we see as the Dark Mother-figure, Dark Queen or Witch. She is a more complex figure because outwardly she may seem to have ‘feminine’ attributes. She may make a show of being caring or protective. She may in her guise as a Witch have visionary, intuitive powers, the capacity to see behind the immediate surface of things to some hidden reality. But she no more possesses the real ‘feminine’ attributes of selfless feeling for others and the ability to ‘see whole’ than the Dark Father. Her ‘feminine’ facade is thus treacherous. Underneath, like the Dark Father, she is totally egocentric, possessed by the ‘masculine’ drive to power and domination.
第三种是与男女主角同性的黑暗对手或黑暗另一个自我，他们在某种程度上更直接地作为同一目标的竞争对手，或者作为“黑暗的对立面”。
Thirdly there are the Dark Rivals or the Dark Alter-Ego, of the same sex as the hero or heroine, who stand in some way more directly as competitors for the same goal, or as a ‘dark opposite’.
第四种是黑暗的另一半，即诱惑者或虚假的追求者，他们自私地试图通过提供一个他们正在努力实现的完整、完美的结合的奸诈、虚假或不充分的版本来引诱或欺骗男女主人公偏离他们的真实道路。
Fourthly there is the Dark Other Half, the Temptress or False Wooer, who selfishly seeks to seduce or beguile the hero or heroine from their true path by offering a treacherous, false or inadequate version of the complete, perfect union they are striving towards.
我们可以看到这四种类型的黑暗人物如何以一种朦胧的方式对应于人类生活最基本的戏剧中的四个关键角色。但是，一旦我们掌握了“未实现的价值”的重要性，即黑暗人物在代表需要转化为光明版本以使故事获得圆满结局的角色中所扮演的角色，我们就可以看到每个人物的真正目的是如何实现的。这些黑暗人物的目的是向故事中的男女主角提出特定的挑战。每一个都构成了一种特定的负面威胁，男女主人公必须通过表现出自己作为其正面对等物来克服这种威胁。
We can see how these four types of dark figure correspond in a shadowy way to the four key roles in the most basic drama of human life. But once we grasp the significance of the ‘unrealised value’, the role of the dark figures in representing that which needs to be turned into its light version for the story to come to a happy ending, we can see how the real purpose of each of these dark figures is to present the hero or heroine of a story with a specific challenge. Each poses a particular negative threat which the hero and heroine must surmount by showing themselves as its positive equivalent.
从表面上看，这些挑战中最容易识别的是黑暗之父或暴君提出的挑战，因为他通常不假装自己的真实本性。他只是一个成熟的男人，充满力量和权力，但不言而喻的残酷和压迫。换句话说，他代表了充分发展的男性价值观，就他的力量和他体现统治或统治秩序的事实而言，但完全没有赋予生命的女性平衡：每当故事的英雄遇到冲突时这样一个人物（或者他自己变成一个人物）是一个迹象，表明如果他要成功，他的最终任务就是成为同一人物的积极、轻松的版本。
On the face of it, the simplest of these challenges to identify is that posed by the Dark Father or Tyrant, because he usually makes no pretence of his true nature. He is simply a full-grown man, full of strength and power but self-evidently brutal and oppressive. In other words, he represents the fully-developed masculine values, in terms of his power and the fact that he embodies the ruling or dominant order, but completely without the life-giving feminine balance: and whenever the hero of a story comes up against such a figure (or turns into one himself) it is a sign that his ultimate task, if he is to succeed, is to become a positive, light version of the same figure.
当主人公遇到强烈男性化的“黑暗对手”时也是如此。无论哪种情况，他都必须表现出自己不仅在男性方面与他们匹配，而且在以自我为中心的情况下表现出无私；他们无情的地方却有善良的心；能够看到视野有限的地方的整体。这就是为什么英雄在与“黑暗男性”的斗争中获得的最终奖品是，他可以将赋予生命的女性从其致命的控制中释放出来，并可以取代黑暗父亲成为潜在的光明父亲或“国王”。
The same is true when the hero encounters a strongly masculine ‘Dark Rival’. In either case, he must show himself to be not just their match in masculine terms, but selfless where they are egocentric; good-hearted where they are heartless; able to see whole where their vision is limited. That is why the hero’s ultimate prize from his struggle with the ‘dark masculine’ is that he can release the life-giving feminine from its deadly grip, and can replace the Dark Father as a potential light father or ‘king’.
但要达到他准备这样做的地步，他必须首先表现出他真正的男子气概：这就是为什么当英雄遇到“黑暗女性”、黑暗母亲或妖妇时，他的挑战有不同的强调。虽然，像“黑暗男性”一样，“黑暗女性”从根本上来说也是以自我为中心、追求权力的，但她以不同的方式工作，因为她以英雄更柔和、更女性化的一面来接近英雄。“黑暗男性能量”显然具有攻击性和好斗性。但“黑暗女性”通过表面地表现出女性特质，通过表现出感觉和关心来发挥作用。她通过诡计、引诱、安抚、欺骗来达到自己的目的。她以自己为英雄的最佳利益服务为借口，掩盖了自己真正的掠夺意图，就像《汉赛尔与格蕾特》中的喀耳刻或女巫一样。谁给孩子们提供姜饼作为诱惑。直到后来，她的真实本性和目的才显现出来，她真的想监禁或吞噬她的受害者。黑暗母亲/妖妇向英雄承诺轻松和自我满足，他不必做出任何努力或表现出坚定，有一条捷径可以到达成为一个男人。她试图迎合他的虚荣心或满足他的身体欲望——食物、性、舒适、放松。她总是以某种方式诉诸英雄以自我为中心的欲望，以此作为进一步发展自己的欲望的一种方式。而在这里，为了抵抗她的诡计，英雄的任务就是表现出完全的男性气概。他必须表现出力量、判断力和辨别能力。他必须保持自己的独立性。“黑暗女性”的目的是要削弱他的男子气概，让他变得软弱和依赖，把他变成“无法成长的男孩英雄”。他抵抗她的方式当然是坚持真实的感觉和“看到整体”的能力。但更直接的是，它要求他调动起所有的男性力量、意志力和自力更生，就像奥德修斯最终摆脱卡吕普索的魔咒时所做的那样。
But to reach the point where he is ready to do this, he must first have shown his true masculinity: which is why, when the hero comes up against the ‘dark feminine’, the Dark Mother or the Temptress, his challenge has a different emphasis. Although, like the ‘dark masculine’, the ‘dark feminine’ is fundamentally egocentric and out for power, she works in a different way because she approaches the hero on his own softer, more feminine side. The ‘dark masculine’ is obviously aggressive and combative. But the ‘dark feminine’ works through a superficial show of feminine qualities, by appearing to feel and to care. She gets her way by guile, seduction, placation, deception. She disguises her true predatory intent beneath a pretence that she is serving the hero’s best interests, like Circe or the Witch in Hansel and Gretel who offers the children gingerbread as a lure. It is only later that her real nature and purpose emerges, that she really wishes to imprison or devour her victims. The Dark Mother/Temptress promises the hero ease and self-gratification, that he does not have to make any effort or show firmness, that there is a short cut to becoming a man. She seeks to flatter his vanity or to gratify his physical appetites – for food, sex, comfort, relaxation. Always she appeals in some way to the hero’s egocentric desires, as a way of furthering her own. And here, in order to resist her wiles, the hero’s task is to show himself as fully masculine. He has to show strength, judgement, the ability to discriminate. He has to remain his own man. The purpose of the ‘dark feminine’ is to unman him, to make him weak and dependent, to turn him into ‘the boy hero who cannot grow up’. His way to resist her is certainly to hold onto true feeling and ability to ‘see whole’. But even more directly it requires him to summon up all his masculine strength, will-power and self-reliance, as Odysseus does when he finally manages to break free from the enchantments of Calypso. That is why the great prize won by the hero from the battle with the ‘dark feminine’ is his independent manliness.
我们在这里还遇到了一个复杂的情况，因为故事中的男性角色完全有可能同时在积极的意义上没有实现他的性格的两面。他缺乏男性气质，也缺乏内在的女性气质。虽然这让他表面上显得软弱，但这并不意味着他没有对他人施加权力的冲动。但由于他无法公开表达自己的统治欲望，他采取了“黑暗女性”的方式，通过欺骗和背叛来行事。这样的角色可能会假装关心他人的利益，例如《阿拉丁的魔法师》或《黑暗对手》中的人物布利菲尔， 《汤姆·琼斯》中的“好心人”和“潜行者”，《丑闻学校》中的约瑟夫·表面，莫里哀的《答尔丢夫》；但这只是他无情的私利的虚伪幌子。
We also here come to a complication, in that it is perfectly possible for a male character in a story to remain unrealised in a positive sense on both sides of his personality at the same time. He lacks masculinity as well as the inner feminine. Although this makes him outwardly weak, it does not mean that he is not driven by the urge to exert power over others. But because he is unable to show his desire to dominate openly, he resorts to acting in the manner of the ‘dark feminine’, by guile and treachery. Such a character may pretend to be concerned for the interests of others, like Aladdin’s Sorcerer or those Dark Rival figures, Blifil, the ‘goody-goody’ and ‘sneak’ in Tom Jones, Joseph Surface in A School For Scandal, Molière’s Tartuffe; but this is only a hypocritical front for his ruthless self-seeking.
事实上，这个外表男性角色的最极端形式，通过“黑暗女性”的含沙射影的方式，试图通过假装符合英雄的利益来控制英雄，代表了故事中黑暗人物的终极类型。 ，诱惑者。这个人物极其危险，因为他具有欺骗性，最常见于悲剧。一个明显的例子是《浮士德博士》中的梅菲斯特，假装向浮士德提供各种虚幻的力量以及了解和看到“隐藏的事物”（即看到整体）的能力，而实际上他只是吸引弱者，迷惑浮士德的自我并试图摧毁他。伊阿古也是一个类似的邪恶例子，他假装为奥赛罗的最大利益服务，但实际上只想陷害并摧毁他。亨利·伍顿勋爵在引诱道林·格雷走上自我毁灭的道路上也扮演了同样的角色。
In fact the most extreme form of this outwardly male character who works through the insinuating manner of the ‘dark feminine’, trying to get a hold over the hero by pretending to be acting in his interests, represents the ultimate type of dark figure in stories, the Tempter. This figure, who is extremely dangerous because he is so deceptive, is most commonly seen in Tragedy. An obvious example is Mephistopheles in Dr Faustus, pretending to offer Faustus all sorts of illusory powers and the ability to know and see ‘hidden things’ (i.e., to see whole), when in fact he is appealing only to the weak, deluded Faustus’s ego and seeking to destroy him. Iago is a similarly devilish example, pretending to be serving Othello’s best interests, but in fact seeking only to trap and destroy him. Lord Henry Wootton plays the same role in luring Dorian Gray onto his path to self-destruction.
事实上，诱惑者是故事中至高无上的“黑暗对立面”，因为他站在完整状态的终极极点。他以最极端的形式代表了假装相反的自我主义。因此，如果英雄的判断力和自制力较弱，他可能会成为最危险的对手。
The Tempter is in fact the supreme ‘dark opposite’ in stories because he stands at the ultimate pole from the state of wholeness. He represents in its most extreme form egotism pretending to be its opposite. As such, if the hero is weak in judgement and self-control, he can become the most dangerous adversary of all.
在那些以女主角为中心人物的故事中，黑暗人物所带来的挑战的重点是相反的。当女英雄遇到“黑暗男性气质”时，就像莱奥诺尔对抗暴君皮萨罗或波西娅对抗夏洛克一样，必须首先发挥她的力量，她的“男性”品质（尽管加上对她不可动摇的控制）女性气质）。当她面对“黑暗女性”时，就像灰姑娘面对邪恶的继母和丑陋的姐妹一样，她自己真正的女性气质，她的纯真、美丽和内心的善良，才是她最明显的衡量标准。优越感，也正是这一点，最终吸引了主人公“轻男”形象的释放。但是，像男主角一样，女主角也可能会遇到那个最“低等”的人物，一个通过他的“黑暗女性”诡计工作的男性人物，就像圣约翰·里弗斯试图引诱简·爱结婚，我们知道这会是一场婚姻。先囚禁她，然后杀掉她。圣约翰·里弗斯是黑暗另一半的诱惑者，就像那些软弱、奸诈的虚假追求者试图引诱简·奥斯汀的几位女主角，或者阿纳托尔·库拉金， 《战争与和平》中潜在的娜塔莎的引诱者。诱惑者，作为完整状态的终极“黑暗对立面”，因此对于女主人公来说就像他对于英雄一样是最危险的敌人，并且像他一样，她需要调动所有完整的潜力来抵抗他; 正如简·爱在最后的挣扎中所做的那样，以摆脱屈服于里弗斯的束缚。
In those stories where the central figure is the heroine, the emphasis of the challenges presented by the dark figures is reversed. When a heroine comes up against the ‘dark masculine’, like Leonore against the Tyrant Pizarro or Portia against Shylock, it is her strength which has to be called primarily into play, her ‘masculine’ qualities (although coupled with an unshakeable hold on her femininity). When she is up against the ‘dark feminine’, like Cinderella faced by her wicked stepmother and the ugly sisters, it is her own genuine femininity, her innocence, beauty and goodness of heart, which is the most obvious measure of her superiority, and it is this which in the end attracts the ‘light masculine’ figure of the hero to release her. But, like the hero, the heroine may also come up against that most ‘inferior’ figure of all, a male figure working through his ‘dark feminine’ wiles, like St John Rivers trying to lure Jane Eyre into a marriage which we know would first imprison and then kill her. St John Rivers is the Tempter as Dark Other Half, like those weak, treacherous false wooers who attempt to seduce several of Jane Austen’s heroines, or Anatole Kuragin, the would-be seducer of Natasha in War and Peace. The Tempter, as the ultimate ‘dark opposite’ of the state of wholeness, is thus just as much the most dangerous enemy to the heroine as he is to the hero, and like him she needs to summon up all her potential for wholeness to resist him; just as does Jane Eyre does in her final struggle to free herself from succumbing to Rivers.
四个基本图形
The four basic figures
由此我们看到，人类想象故事的需求与人类生活中最核心的本能驱动力有多么直接的联系。我们每个出生在家庭单位的人很快就会意识到，我们是“三人”中的第三个，也是最小的一个：“爸爸、妈妈和我”，即原始的三人组。我们意识到，作为“三者”中的“第三者”，我们是成长和转变过程的中心焦点，这自然比世界上任何其他事情都更让我们着迷。从这个开始，随着我们逐渐意识到，我们每个人内心最深处的本能驱动力就是我们最终应该找到能够让我们重复生命延续来完成这个过程的“另一半”。因此，我们本能地知道，原来的“三”必然变成“四”：
What we thus see is just how directly our human need to imagine stories is related to the most central instinctive drive in human life. Each of us born into a family unit soon becomes conscious that we are the third and youngest of a ‘three’: ‘Daddy, Mummy and me’, the primal triad. We are aware that, as the ‘third’ of that ‘three’, we are the central focus of a process of growth and transformation which naturally preoccupies us more than anything else in the world. From this beginning, as we gradually become aware, the deepest instinctive drive programmed into any of us is that we should eventually find that ‘other half’ who can complete the process by enabling us to repeat the continuation of life. We thus instinctively know that the original ‘three’ must become a ‘four’: in a way which also creates that new state of ‘one-ness’ which forms the core of a new family unit.
这种基本模式围绕一组原型被编程到我们的无意识中；这就是为什么如此多的故事都围绕着同一小群原型人物：父亲、母亲、英雄和女英雄（他们的象征性角色常常被增强，特别是在神话和民间故事中，通过赋予他们国王、王后等皇室地位，王子和公主）。如果一个故事能够达到圆满的结局，它向我们展示的是它的男女主人公最终走到一起，成为潜在的新父亲/国王和母亲/王后，反映了人类生活的核心过程，即每一代人都成长为一个新的人。成功地完成之前的任务。
This essential pattern is programmed into our unconscious around a set of archetypes; which is why so many stories centre round the same little group of archetypal figures: father, mother, hero and heroine (whose symbolic roles are often enhanced, particularly in myths and folk tales, by giving them royal status as a King, a Queen, a Prince and a Princess). If a story manages to reach the complete happy ending, what it shows us is its hero and heroine finally coming together to become a potential new Father/King and Mother/Queen, reflecting that process central to human life whereby each new generation grows up to succeed to the one before it.
但故事并不涉及生物学意义上的这种继承。他们关心的是它的心理。他们向我们展示的是那些对于以正确方式进行继承至关重要的心理素质。这就是为什么故事中黑暗人物的作用是体现中心人物必须克服的负面品质，以实现适当的幸福结局。在这方面，无论故事中出现多少个角色，它真正关心的只是一个：英雄或女英雄。我们认同他或她的命运，因为我们看到他们逐渐发展到标志着故事结局的自我实现状态。最终，故事中的所有其他角色都与这个中心人物相关。
But stories are not concerned with this succession in its biological sense. Their concern is with its psychology. What they are showing us is those psychological qualities which are essential for the succession to take place in the right way. This is why the role of the dark figures in a story is to exemplify those negative qualities which the central figure must overcome in order to achieve the proper happy ending. In this respect, however many characters may appear in a story, its real concern is with just one: its hero or its heroine. It is he or she with whose fate we identify, as we see them gradually developing towards that state of self-realisation which marks the end of the story. Ultimately it is in relation to this central figure that all the other characters in a story take on their significance. What each of the other characters represents is really only some aspect of the inner state of the hero or heroine themselves.
这就是为什么在如此多的故事中，我们看到一个中心人物开始时年轻、不成熟、单身，然后以某种方式陷入黑暗力量的阴影之下。黑暗力量本身所象征的不完整状态在很长一段时间内继续占据主导地位，因为这对应于男女主人公自身所达到的发展阶段。只有当他们最终准备好成熟时，故事中的黑暗力量才能被推翻或消失。因此，我们看到故事的中心人物在故事中朝着最终出现在光明中的那一刻发展，就像蝴蝶经历其发展的所有不完整阶段一样，首先是毛毛虫，然后是蛹，最后才达到完整的状态作为蝴蝶：意象正如它所说的，它一直努力追求的最终完美形象。在故事的所有这些阶段，当男女主人公在心理上仍然不完整时，我们看到黑暗人物笼罩在他们身上，作为价值观的负面象征，在故事达到最终结局之前，他们必须在自己身上树立积极的价值观。
This is why in so many stories we see a central figure who begins young, immature and single then falling in some way under the shadow of the dark power. For a long time the state of incompleteness which the dark power itself symbolises continues to hold sway, because this corresponds to the stage of development reached by the hero or heroine themselves. Only when they are finally ready to emerge to maturity can the dark power in the story be overthrown or fade away. We thus see the central figure developing through the story towards that moment of final emergence into the light, much as a butterfly evolves through all the incomplete stages of its development, first as a caterpillar, then as a chrysalis and only lastly in its complete state as a butterfly: imago, as it is called, the final perfect image of what it has been striving towards. Through all those phases of the story when hero or heroine are still psychologically incomplete, we see the dark figures looming over them, as negative symbols of the values they must still make positive in themselves before the story can reach its final resolution.
这对于理解故事如何在人类想象中形成至关重要，因此现在是时候看看它在实践中是如何运作的了。我们从古代世界两个最著名的故事开始，每个故事都描述了英雄如何从不成熟的童年成长为最终的国王男子气概。然后我们看看现代好莱坞版本如何呈现相同的主题。
So central is this to understanding how stories take shape in the human imagination that it is time to look at how it works in practice. We begin with two of the most famous stories of the ancient world, each describing how its hero matures from immature boyhood to a final state of kingly manhood. We then see how a modern Hollywood version presents the same theme.
从男孩到国王（珀尔修斯）
From boy to king (Perseus)
伟大的神话英雄珀尔修斯的故事甚至在他出生之前就开始了。故事以国王阿克里修斯（Acrisius）开头，他有一个女儿达那厄（Danae）。因此，我们从国王/父亲的形象开始，他身边有一位美丽的年轻女子。然后神谕告诉他，在遥远的未来有一天，他将被他的孙子杀死。换句话说，他知道自己有一天会死去，而新一代将会成功。面对这种威胁，阿克里修斯变得阴暗起来，并将达娜厄关在塔中，这样任何人都无法接近她。这是暴君的黑暗力量将光明女性囚禁在其阴影中的经典形象。由于认为自己必须死，阿克里修斯变得自私，他失去了感受或看到任何超出他自身利益的事物的能力。
The story of the great mythical hero Perseus begins even before he is born. It opens with a king, Acrisius, who has a daughter Danae. We thus begin with the image of a King/Father with a beautiful young woman by his side. He is then told by the oracle that one day in the distant future he will be killed by his grandson. In other words, he learns that he will one day have to die and that a new generation will succeed. Faced with this threat Acrisius turns dark and shuts up Danae in a tower, so that no man may reach her. It is a classic image of the dark power of the Tyrant imprisoning the light feminine in its shadow. Made selfish by the thought that he has to die, Acrisius has lost touch with the ability to feel or to see anything beyond his own self-interest.
然后，最伟大的国王宙斯，众神之王，代表着最神圣的男性权威的力量，因为它服务于生命的事业，伪装成闪亮的金色雨来到达那厄身边，她怀上了英雄故事的主角是珀尔修斯。当他出生时，恐惧而愤怒的阿克里西乌斯将婴儿英雄和他的母亲放在海上的一个箱子里，他们最终一起被单独冲到了一个陌生的海岸上。因此，英雄就像任何人类孩子一样，进入了一个靠近母亲的新世界——但不久之后，一个新的存在就以他们所来到的土地上的国王波吕得克忒斯的形式进入他们的生活。他试图将自己的注意力强加在达娜厄身上，并残酷地对待她，从而使黑暗之王/父亲的阴暗形象更加鲜明，而这个形象在这个故事的早期阶段占据了如此重要的地位。男孩珀尔修斯成长到了成年的边缘，爱着他的母亲，并试图保护她免受波吕得克忒斯暴虐的“黑暗男性”的侵害，最终，为了收买他，他向暴君承诺，他将尽一切努力将她从他的手中拯救出来。离合器。这个勇敢的宣言爱的无私告诉我们，珀尔修斯从与女性建立良好的关系开始；但为了证明其价值，他首先必须确立自己的男子气概，因为如果没有男子气概的力量作为后盾，这样的宣言只是空洞的情感表达。国王派他去杀死可怕的美杜莎。可怕的、曾经美丽的戈尔贡，拥有致命的力量，可以将所有看到她的人变成石头，冻结所有落入她阴影的人的生命和成长，这是有史以来最不可磨灭的“黑暗女性”形象之一。最终，经过长途跋涉和周密准备，珀尔修斯在智慧女神雅典娜和赫尔墨斯大神的帮助下，成功砍下了她的头。就在他这样做的那一刻，从她的身体中浮现出闪现的战士克律萨俄尔和飞马珀伽索斯的短暂影像，
Then the greatest king of all, Zeus, king of the gods, representing the power of masculine authority at its most numinous because it is serving the cause of life, comes to Danae disguised as a shining shower of gold and she becomes pregnant with the hero of the story, Perseus. When he is born, the fearful, enraged Acrisius turns loose the infant hero and his mother in a chest on the sea, whence they are eventually washed up alone together on a strange shore. The hero thus, like any human child, enters a new world close to his mother – but it is not long before a new presence enters their life in the shape of the king of the land they have come to, Polydectes. He tries to force his attentions on Danae and treats her cruelly, thus redoubling the shadowy image of the Dark King/Father which lies so heavily over the early stages of this story. The boy Perseus grows up to the verge of manhood, loving his mother and attempting to defend her against the tyrannical ‘dark masculine’ of Polydectes, and eventually, to buy him off, he promises the Tyrant he will do anything to save her from his clutches. This courageous declaration of loving unselfishness tells us that Perseus begins with a good relationship to the feminine; but in order to prove its worth he is first going to have to establish his manhood, for without the manly strength to back them up, such declarations are merely empty expressions of sentiment. The king sends him off to kill the dreadful Medusa. The terrible, once-beautiful Gorgon, with her deadly power to turn all who see her to stone, freezing the life and growth of all who fall into her shadow, is one of the most indelible images of the ‘dark feminine’ ever conceived. Eventually, after a long journey and much preparation, with the aid of the goddess of wisdom Athene and the god Hermes, Perseus manages to cut off her head. At the moment he does so, out of her body spring fleeting images of the shining warrior Chrysaor and the winged horse Pegasus, symbols of the bounding power of manhood which Perseus has released from his victorious struggle with the ‘dark feminine’.
现在他已经成为一个男人，唯一的危险是他会为了自私的目的而滥用他新获得的权力和力量。他还有一项任务需要完成：证明他的力量具有赋予生命的平衡，通过证明它不会掩盖“轻柔的女性”。这正是等待着他的考验，在他回家的路上，他看到美丽的安德洛墨达公主被锁在岩石上，而波塞冬派来的可怕的海怪正在逼近。波塞冬是海底低等王国的冷酷国王，他的阴暗存在始终是希腊神话中男性力量失衡的“黑暗之父”正在发挥作用的标志。例如，他是波吕斐摩斯的父亲，波吕斐摩斯是奥德修斯的“黑暗对立面”。他是米诺斯国王和他的生物牛头怪背后的阴暗存在，是忒修斯的“黑暗对立面”。在这里，他的海怪是珀尔修斯的“黑暗对手”或“黑暗对手”，珀尔修斯是“黑暗男性”的代表，他与珀尔修斯争夺公主。珀尔修斯利用他新获得的男子气概的战利品——美杜莎的头——智胜了这个怪物，杀死了它，释放了安德洛墨达并娶了她。他回来杀死波吕得克忒斯，并再次使用蛇发女妖的头颅来释放他的母亲达娜厄。最后，在一场葬礼游戏中，他错误地（因此无辜地）杀死了观看的他的祖父阿克里西乌斯——此时珀尔修斯最终继承了王国。原来的神谕已经应验了。珀尔修斯在各个方面都取得了成功。他解开了一系列错综复杂的挑战，让一切回到最初，将黑暗转为光明。故事的结尾和开始一样，都是一个国王的形象，一个骄傲的、一个成熟的男性权威的持有者，身边站着一个美丽的女人。火炬已经传递到新一代。再生循环完成。
Now he has become a man, the only danger is that he will misuse his new-found power and strength for selfish purposes. He has one more task to become complete: to prove that his power has life-giving balance, by showing that it does not overshadow the ‘light feminine’. This is precisely the test which awaits him when, on his journey home, he sees the beautiful Princess Andromeda chained to a rock as the terrible sea-monster sent by Poseidon approaches. The shadowy presence of Poseidon, grim king of the inferior realm beneath the sea, is always a sign in Greek mythology that the ‘Dark Father’ of unbalanced masculine power is at work. He is, for instance, the father of Polyphemus, the ‘dark opposite’ to Odysseus. He is the shadowy presence behind King Minos and his creature the Minotaur, the ‘dark opposite’ to Theseus. Here his sea-monster stands as the ‘dark opposite’ or ‘Dark Rival’ of Perseus, the representative of the ‘dark masculine’ with whom he is in competition for the Princess. By using the trophy of his new-found manhood, the head of Medusa, to outwit the monster, Perseus slays it, frees Andromeda and marries her. He returns to kill Polydectes, again using the Gorgon’s head, to free his mother Danae. Finally, at a funeral games, he by mistake (and therefore innocently) kills the watching Acrisius, his grandfather – and at this point Perseus at last succeeds to the kingdom. The original oracle has been fulfilled. Perseus has succeeded in every sense. He has unravelled all the intricate series of challenges back to the beginning, turning darkness in each case to light. The story ends, as it began, on the image of a king, a proud, full-grown bearer of masculine authority, standing with a beautiful woman by his side. The torch has been passed to a new generation. The cycle of regeneration is complete.
从男孩到国王（大卫）
From boy to king (David)
另一个在黑暗之父的阴影下长大直到最终继承王国的年轻英雄的例子是圣经中大卫的故事，该故事记录在《撒母耳记》两本书和《列王纪上》中的犹太传说中。我们在这里只看他故事的第一部分，直到他成为国王，因为它特别微妙地强调了这样一个事实：与他黑暗、片面的对手不同，年轻的大卫在男性和女性方面都有所体现，因此平衡良好，因此始终具有完整的潜力。
Another instance of a young hero who grows up in the shadow of the Dark Father until he eventually succeeds to the kingdom is the biblical story of David, recorded from Jewish legend in the two books of Samuel and the first book of Kings. We look here at just the first part of his story, up to the point where he becomes king, because of its particularly subtle emphasis on the fact that, unlike his dark, one-sided antagonist, young David is in masculine and feminine terms so well balanced, and therefore always potentially whole.
故事开始于扫罗国王刚刚赢得了一系列对国家敌人的巨大血腥胜利，但却因他的不服从而招致了上帝的愤怒。扫罗失败了。他正在成为一个黑暗人物。上帝决定他作为国王的日子屈指可数了。在这一点上，我们见到大卫是一个默默无闻的年轻牧童，我们对他的第一印象几乎是他弹奏的竖琴优美，这是他温柔、女性化的一面的第一个暗示。接下来是故事中最熟悉的一集，以色列的大敌非利士人在他们的冠军、自夸的巨人歌利亚的带领下入侵，代表了最残酷的“黑暗男性”力量。在所有以色列人中，只有这个小牧童敢于站出来挑战巨人。歌利亚轻蔑地俯视着，因为它强调大卫不仅年轻而且“相貌俊美”；再次是较软的值。当然，大卫赢得这场比赛并不是因为他比歌利亚更强，而是因为他更聪明、更有想象力。就像民间传说中的许多其他小英雄面对巨人一样，他抓住了歌利亚的自私愚蠢和有限意识的盲点。大卫拥有更广阔的视野，可以使用小弹石，使他能够在巨人够不到的地方进行攻击；他凭借男子气概的勇气和直觉的想象力杀死了以色列最大的敌人，成为以色列最伟大的英雄。而是因为他更聪明，更有想象力。就像民间传说中的许多其他小英雄面对巨人一样，他抓住了歌利亚的自私愚蠢和有限意识的盲点。大卫拥有更广阔的视野，可以使用小弹石，使他能够在巨人够不到的地方进行攻击；他凭借男子气概的勇气和直觉的想象力杀死了以色列最大的敌人，成为以色列最伟大的英雄。而是因为他更聪明，更有想象力。就像民间传说中的许多其他小英雄面对巨人一样，他抓住了歌利亚的自私愚蠢和有限意识的盲点。大卫拥有更广阔的视野，可以使用小弹石，使他能够在巨人够不到的地方进行攻击；他凭借男子气概的勇气和直觉的想象力杀死了以色列最大的敌人，成为以色列最伟大的英雄。
The story begins with King Saul having just won a series of tremendous, bloody victories over his country’s enemies, but incurring the wrath of God for his disobedience. Saul has failed. He is becoming a dark figure. God decides that his days as king are numbered. At this point we meet David as an obscure young shepherd boy, and almost the first thing we learn about him is that he plays the harp beautifully, a first intimation of his softer, feminine side. Then follows the most familiar episode of the story when the great enemies of Israel, the Philistines, invade, led by their champion, the boastful giant Goliath, representing ‘dark masculine’ strength at its most brutal. Alone of all the Israelites the little shepherd boy dares to step forward to challenge the giant. Goliath looks down in contempt, because it is emphasised that David was not only young but ‘fair of countenance’; again the softer value. And of course it is not because David is stronger than Goliath that he wins the contest, but because he is cleverer and more imaginative. Like so many other little heroes confronted by giants in folklore, he catches Goliath out on the blind spot of his self-regarding stupidity, his limited awareness. David has the wider vision to use the little slingstones which enable him to attack from out of the giant’s reach; and having slain Israel’s greatest enemy by his combination of manly courage and intuitive imagination, he becomes his country’s greatest hero.
扫罗起初欢迎大卫成为他的统帅。大卫与他的女儿米甲公主结婚，并成为扫罗儿子约拿单形影不离的朋友，一个“光明的另一个自我”，强调大卫现在几乎是扫罗本人的儿子。但扫罗对这个快乐、平衡、弹竖琴的年轻人越来越嫉妒和怨恨。他越来越变成一个喜怒无常、诡计多端、冷酷无情的黑暗之父，内心被“黑暗女性”所附身，连续不断地阴险地企图杀死大卫。大卫逐渐陷入被追捕的亡命之徒的境地，首先是在以色列本身的荒野，然后被流放到可恨的非利士人的土地上。当扫罗“线上”进一步陷入黑暗时，大卫则被进一步两极分化，陷入“线下”的阴影中。但他一刻也没有失去平衡感、忠诚感、真实感受和洞察整体的能力。即使他有机会在黑暗的山洞里杀死熟睡的扫罗，他也只是割下扫罗的一块外衣，以表明他不想伤害扫罗。简而言之，在“阴影领域”，他越来越完全地发展为扫罗的“光明对立面”，完整而完整，而扫罗在“上层领域”则变得更加黑暗和不平衡。扫罗周围的噩梦终于达到了高潮。他和他的军队在非利士人手中遭受惨败，约拿单被杀，扫罗本人在绝望中自杀。大卫在民众的欢呼声中被召回流亡的“下等王国”，这位看似完美的英雄成为了国王。他的真实感受和他洞察整体的能力。即使他有机会在黑暗的山洞里杀死熟睡的扫罗，他也只是割下扫罗的一块外衣，以表明他不想伤害扫罗。简而言之，在“阴影领域”，他越来越完全地发展为扫罗的“光明对立面”，完整而完整，而扫罗在“上层领域”则变得更加黑暗和不平衡。扫罗周围的噩梦终于达到了高潮。他和他的军队在非利士人手中遭受惨败，约拿单被杀，扫罗本人在绝望中自杀。大卫在民众的欢呼声中被召回流亡的“下等王国”，这位看似完美的英雄成为了国王。他的真实感受和他洞察整体的能力。即使他有机会在黑暗的山洞里杀死熟睡的扫罗，他也只是割下扫罗的一块外衣，以表明他不想伤害扫罗。简而言之，在“阴影领域”，他越来越完全地发展为扫罗的“光明对立面”，完整而完整，而扫罗在“上层领域”则变得更加黑暗和不平衡。扫罗周围的噩梦终于达到了高潮。他和他的军队在非利士人手中遭受惨败，约拿单被杀，扫罗本人在绝望中自杀。大卫在民众的欢呼声中被召回流亡的“下等王国”，这位看似完美的英雄成为了国王。即使他有机会在黑暗的山洞里杀死熟睡的扫罗，他也只是割下扫罗的一块外衣，以表明他不想伤害扫罗。简而言之，在“阴影领域”，他越来越完全地发展为扫罗的“光明对立面”，完整而完整，而扫罗在“上层领域”则变得更加黑暗和不平衡。扫罗周围的噩梦终于达到了高潮。他和他的军队在非利士人手中遭受惨败，约拿单被杀，扫罗本人在绝望中自杀。大卫在民众的欢呼声中被召回流亡的“下等王国”，这位看似完美的英雄成为了国王。即使他有机会在黑暗的山洞里杀死熟睡的扫罗，他也只是割下扫罗的一块外衣，以表明他不想伤害扫罗。简而言之，在“阴影领域”，他越来越完全地发展为扫罗的“光明对立面”，完整而完整，而扫罗在“上层领域”则变得更加黑暗和不平衡。扫罗周围的噩梦终于达到了高潮。他和他的军队在非利士人手中遭受惨败，约拿单被杀，扫罗本人在绝望中自杀。大卫在民众的欢呼声中被召回流亡的“下等王国”，这位看似完美的英雄成为了国王。他越来越完全地发展成扫罗的“光明对立面”，完整而完整，而扫罗在“上界”则变得更加黑暗和不平衡。扫罗周围的噩梦终于达到了高潮。他和他的军队在非利士人手中遭受惨败，约拿单被杀，扫罗本人在绝望中自杀。大卫在民众的欢呼声中被召回流亡的“下等王国”，这位看似完美的英雄成为了国王。他越来越完全地发展成扫罗的“光明对立面”，完整而完整，而扫罗在“上界”则变得更加黑暗和不平衡。扫罗周围的噩梦终于达到了高潮。他和他的军队在非利士人手中遭受惨败，约拿单被杀，扫罗本人在绝望中自杀。大卫在民众的欢呼声中被召回流亡的“下等王国”，这位看似完美的英雄成为了国王。1
At first Saul welcomes the emergence of David as his leading general. David marries his daughter, the Princess Michal, and becomes the inseparable friend of Saul’s son Jonathan, a ‘light alter-ego’, emphasising that David is now almost a son to Saul himself. But increasingly Saul becomes jealous and bitter towards the happy, balanced, harp-playing young man. He turns more and more into a moody, scheming, heartless Dark Father, inwardly possessed by the ‘dark feminine’, making a succession of treacherous attempts to kill David. David is driven increasingly into the position of being a hunted outlaw, first in the wilderness of Israel itself, then in exile in the land of the hated Philistines. As Saul, ‘above the line’, sinks ever further into darkness, David is being polarised ever further into the shadows ‘below the line’. But never for a moment does he lose his balance, his sense of loyalty, his true feeling and his ability to see whole. Even when he has a chance to kill the sleeping Saul in the darkness of the cave, he merely cuts off a piece of Saul’s coat to show that he has no desire to cause Saul injury. In the ‘shadow realm’, in short, he is developing more and more completely into Saul’s ‘light opposite’, integrated and whole, while Saul in the ‘upper realm’ becomes ever more dark and unbalanced. Finally the nightmare gathering round Saul comes to a climax. He and his army suffer a huge defeat at the hands of the Philistines, Jonathan is killed, Saul himself commits suicide in despair. David is recalled by popular acclamation from the ‘inferior realm’ of his exile, and the seemingly perfect hero becomes king.1
从男孩到国王（狮子王）
From boy to king (The Lion King)
近来最受欢迎的好莱坞电影之一是迪士尼工作室针对这一基本主题制作的动画版《狮子王》（1994 年）。2这一切始于非洲，不同种类的动物和鸟类聚集在骄傲岩周围的灌木丛中，这里是狮子之王、公认的所有其他动物之王木法沙的故乡。他们的聚集象征着“生命的循环”。强壮而成熟的木法沙将他的幼崽辛巴作为他的继承人，辛巴的母亲萨拉比自豪地注视着。国王的弟弟刀疤被故意缺席，他的一只眼睛上有伤疤，身体比他的兄弟弱，但狡猾而残忍。他希望有一天自己能成功成为国王，但现在这个希望已经破灭了。
One of the most popular Hollywood movies of recent times was the Disney Studio’s animated version of this basic theme, The Lion King (1994).2 This begins in Africa with different species of animals and birds congregating in the bush round Pride Rock, home of Mufasa, king of the lions and acknowledged lord of all the other animals. Their gathering symbolises the ‘Circle of Life’. Mufasa, strong and mature, is presenting his young cub Simba as his heir, proudly watched by Simba’s mother Sarabi. Deliberately absent from the ceremony is the king’s younger brother Scar, disfigured by a scar over one eye, physically weaker than his brother but crafty and cruel. His dark hope that he might one day himself succeed as king has now been dashed.
最初，我们看到故事主人公辛巴愚蠢又不成熟，他带着他的小朋友娜拉，一头年轻的母狮，来到“大象墓地”，他们被告知永远不要去那里。他们被前来寻找他们的辛巴的父亲国王从一群邪恶的鬣狗手中救了出来。但辛巴的鲁莽导致他差点被一群狂奔的角马踩死。再次来救儿子后，穆萨法逃上了悬崖，刀疤在山顶等待，把他推死了。辛巴认为自己是导致父亲死亡的罪魁祸首，于是悲惨地流亡国外，留下刀疤在一群奸诈的鬣狗的帮助下夺取了王位。
Initially we see Simba, the story’s hero, as foolish and immature, as he takes his little friend Nala, a young lioness, to the ‘elephants’ graveyard’ where they have been told never to go. They are rescued from a pack of evil hyenas by Simba’s father, the king, who has come to look for them. But then Simba’s recklessness leads him to be nearly trampled to death by a stampeding herd of wildebeeste. After again coming to save his son, Musafa escapes up a cliff from which Scar, waiting at the top, pushes him to his death. Simba imagines he has been the cause of his father’s death, and wanders miserably off into exile, leaving Scar, helped by the treacherous pack of hyenas, to claim the kingship.
因此，我们看到了典型的熟悉情况：一位好国王/父亲死去或被谋杀，而他不成熟的年轻继承人还没有准备好成功，因此国王/父亲的角色被一个篡夺的黑暗兄弟所取代（就像《哈姆雷特》、《阿拉丁》和许多其他版本一样），让儿子英雄感到沮丧和一无所有。
We thus see the archetypally familiar situation of a good King/Father dying or being murdered, at a time when his immature young heir is not yet ready to succeed, so that the role of King/Father is taken on by a usurping dark brother (as in Hamlet, Aladdin and many other versions), leaving the son-hero disconsolate and dispossessed.
迷失和流放的辛巴被一只疣猪和一只狐獴照顾，它们成为了他的朋友，他和它们住在一起，在丛林里享受着不负责任的幸福生活，却没有注意到自己正在逐渐成熟为一个成熟的人。狮子（典型地，他与朋友的这种有趣的关系呼应了哈尔王子与福斯塔夫及其伙伴的友谊）。但最终，一头成年的年轻母狮闯入了他们的平静，原来它就是娜拉。从王国传来的消息再糟糕不过了。在刀疤和他的鬣狗的暴政下（就像《指环王》中的萨鲁曼和他的兽人一样）），一切都变得支离破碎。食物和水都耗尽了。看来骄傲队的生存受到了质疑。起初辛巴显得冷漠，但多亏了娜拉和聪明的猴子拉菲基，他才恢复了正常。当他看着自己在水中的倒影时，这一点得到了强调，看到他现在看起来就像他的父亲一样——然后父亲出现在天堂的异象中告诉他“你已经忘记了你是谁……唯一真正的国王”。
The lost and exiled Simba is taken into the care of a warthog and a meerkat, who become his friends, and he stays with them, enjoying a happily irresponsible life out in the bush, without noticing that he is gradually maturing into a full-grown lion (archetypally, this playful relationship with his friends echoes Prince Hal’s friendship with Falstaff and Co.). But eventually a full-grown young lioness intrudes on their peace, who turns out to be Nala. The news from the kingdom could not be worse. Under the misrule of Scar and his hyenas (like Saruman and his orcs in The Lord of the Rings), all has gone to wrack and ruin. Food and water are exhausted. It seems the very survival of the Pride is in question. At first Simba seems apathetic, but thanks to Nala and a wise monkey Rafiki, he is called back to himself. This is emphasised when he looks at his reflection in water, to see that he now looks just like his father – who then appears in a heavenly vision to tell him ‘you have forgotten who you are ... the one true king’.
辛巴带领他的朋友们回到骄傲岩挑战邪恶的刀疤，刀疤轻蔑地指责他杀害了他的父亲。但当刀疤试图以同样的方式杀死辛巴，将他推下悬崖时，他承认是他自己谋杀了穆萨法。辛巴成功跳到安全地带，并与刀疤扭打在一起在一场战斗中，当“黑暗之王”被依次推下悬崖时，他被鬣狗袭击并吃掉。辛巴像奥德修斯一样，胜利地夺回了自己的王国，这让他的母亲和其他不幸的母狮感到高兴。他与心爱的娜拉结婚，故事以所有动物唱的《生命之轮》赞歌结束，新国王和王后抱起刚出生的女儿，以确认未来生命的延续现在放心了。
Simba leads his friends back to Pride Rock to challenge the evil Scar, who scornfully accuses him of having killed his father. But when Scar then tries to kill Simba in the same way, by pushing him off the cliff, he admits that it was he himself who had murdered Musafa. Simba manages to leap upwards to safety, outwrestles Scar in a fight and, when the ‘dark king’ is pushed over the cliff in turn, he is set on and devoured by the hyenas. To the joy of his mother and the other unhappy lionesses, Simba has, like Odysseus, triumphantly reclaimed his kingdom. He marries his loving Nala, and the story ends with a hymn to the ‘Circle of Life’ sung by all the animals, as the new king and queen hold up a new-born daughter to confirm that the continuance of life into the future is now assured.
石器时代的一个版本
A version from the Stone Age
一旦我们开始认识到故事中“未实现的价值”所扮演的角色的重要性，我们就会看到它对于构建故事的无意识逻辑是多么重要。在整个故事中，黑暗人物都识别出那些消极的品质，如果要达到幸福的结局，就必须将这些品质转化为积极的对立面。整个故事因此成为一幅在最初占主导地位的“线上方”黑暗力量与逐渐发展的“线下方”光明中心之间不断变化的平衡的画面；直到天平最终倾斜，阴影逐渐消失，光线“越过界限”涌出，展现男女主人公团结一致、与生活融为一体。
Once we begin to recognise the significance of the part played by the ‘unrealised value’ in stories, we see just how crucial it is to the unconscious logic by which they are constructed. All through a story the dark figures identify those negative qualities which must be redeemed into their positive opposites if it is to reach a happy ending. The whole story thus becomes the picture of a changing balance between the power of darkness initially dominant ‘above the line’ and the gradually developing centre of light ‘below the line’; until finally the balance can tip, the shadows fade away and light can flood up ‘above the line’ to show hero and heroine united and at one with life.
这种编码如此牢固地融入神话和民间故事的结构中，以至于我们在世界各地的故事讲述中都能找到它。没有一种文化比南部非洲“石器时代”布须曼人的文化更远离我们的文化了。然而，请考虑一下威廉·布莱克 (Wilhelm Bleek) 博士于 19 世纪创作的合集（后来由劳伦斯·范德波斯特 (Laurens van der Post) 在《猎人的心》中重新出版)中的一个典型传统布须曼儿童故事的轮廓。
This kind of coding is so firmly built into the structure of myths and folk tales that we find it in storytelling all over the world. No culture could be more remote from our own than that of the ‘Stone Age’ bushmen of southern Africa. Yet consider the outline of a typical traditional bushman children’s story, from a collection made in the nineteenth century by Dr Wilhelm Bleek (later republished in The Heart of the Hunter by Laurens van der Post).
故事首先描述了草原上的两种小动物——蜥蜴和黑甲虫——如何生下一个女儿。他们囚禁了她，强迫她做卑微的工作，其残忍的方式让周围的其他生物都感到惊恐。最终，其他动物聚集在一起，决定释放这个小囚犯。第一个尝试这一英雄事迹的是一只长鼻子老鼠，但蜥蜴和黑甲虫毫不费力地杀死了他。一连串的其他长鼻子老鼠试图取代他的位置，但都被杀死了。最后，神秘的螳螂，一种在布须曼人神话中扮演核心角色的昆虫，是一位聪明、有远见的幻想家，终于有了一个梦想：结果是另一种生物，一只条纹老鼠，开始去释放不幸的年轻“甲虫”女士'。他投入战斗，凭借勇气和聪明才智，他最终成功杀死了蜥蜴和黑甲虫，并在这样做时惊呼“我独自一人，为了拯救朋友而杀人”。不仅年轻的女主人公从囚禁中被解放出来，所有被杀死的老鼠也都复活了。他们以凯旋的队伍行进回家，胜利的英雄走在队伍的最前面，身旁是年轻的甲虫女人：“因为他觉得他是那个女孩的丈夫，而她完全是他的女人”。
The story begins by describing how two of the little creatures of the veldt, a lizard and a black beetle, have a daughter. They keep her prisoner and force her to perform menial tasks, in such a cruel fashion that all the other creatures around are horrified. Eventually the other animals come together and resolve to liberate the little prisoner. First to attempt this heroic deed is a long-nosed mouse, but the lizard and the black beetle have no difficulty in killing him. A whole succession of other long-nosed mice try to succeed in his place, but all are killed. At last the mysterious Mantis, an insect which plays a central part in bushman mythology as a wise, far-seeing visionary, has a dream: with the result that a different creature, a striped mouse, sets out to free the unhappy young ‘beetle woman’. He goes into battle and by a combination of courage and ingenuity he succeeds finally in slaying both the lizard and the black beetle, exclaiming as he does so ‘I am, by myself, killing to save friends’. Not only is the young heroine liberated from her imprisonment, but all the slain mice come back to life as well. They march home in a triumphant column, at its head the victorious hero and by his side the young beetle woman: ‘for he felt that he was the husband of the girl and that she was utterly his woman’.
尽管这个故事来自可能被认为是世界上最原始的文化之一，但它的结构对我们来说并不陌生。我们认识到最初占主导地位的黑暗力量，将“光明女性”囚禁在它的阴影中，如此残酷，以至于它的暴政的阴影笼罩着整个周围的社区。我们认识到故事讲述者描述第一个故事的方式“影子王国”内部没有充分尝试释放她，这只会让我们意识到这将是一项多么艰巨的任务。我们认识到神秘预言家的介入，他更广阔的视野导致了真正的救赎英雄的出现（就像梅林安排亚瑟王的出现）；再次强调，英雄只是“为了拯救朋友而杀人”（他这样做不是出于自私的原因，而是为了公众的利益）。最后，我们认识到那种无私的解放行为的熟悉的高潮，它导致英雄既赢得了他与女英雄完美结合的最高奖赏，同时又解放了所有那些陷入黑暗权力统治下的更广泛的社区。阴影。
Although this tale comes from what might be regarded as one of the most primitive cultures in the world, nothing about its structure is unfamiliar to us. We recognise the initially dominant dark power, keeping the ‘light feminine’ imprisoned in its shadow, so cruelly that the shadow of its tyranny falls over the whole surrounding community. We recognise the way the storyteller describes the first inadequate attempts from within the ‘shadow realm’ to free her, which only helps to build up our sense of what a colossal task it is going to be. We recognise the intervention of the mysterious seer, whose wider vision leads to the emergence of the true redeeming hero (like Merlin arranging for the emergence of King Arthur); and, again, the careful emphasis placed on the point that the hero is only ‘killing to save friends’ (he is not doing it for selfish reasons but for the general good). Finally we recognise the familiar climax of that selfless act of liberation, which leads to the hero both winning the supreme prize of his own perfect union with the heroine and at the same time liberating the wider community of all those who had fallen under the dark power’s shadow.
然而，我们特别值得注意的是，故事以黑暗父亲和黑暗母亲这两个黯然失色的人物开始，经过漫长的斗争过程，最终以一个完全实现的男女主角共同出现的形象结束。进入光中。故事中发生的事情的本质是，我们一开始的黑暗和消极的形象在最后被救赎成光明、积极的对立面。黑暗父亲和母亲最初的威胁性存在已被年轻的英雄和女英雄所取代，他们已经从黑暗中走出来，并准备好成为光明的父亲和母亲。正如在许多其他故事中一样，我们看到以黑暗和否定生命为特征的老一代被站在生命一边的新一代所取代。
What we may particularly note, however, is the way the story begins with the two overshadowing figures of a Dark Father and a Dark Mother and, after a long process of struggle, ends on the image of a fully-realised hero and heroine emerging together into the light. The essence of what has happened in the story is that the original dark and negative image we began with has been redeemed by the end into its light, positive opposite. The initial threatening presence of the Dark Father and Mother has been replaced by the young hero and heroine, who have emerged from the darkness to the point where they are themselves ready to become a Light Father and Mother. As in so many other stories, we see the older generation, characterised as being dark and life-denying, being succeeded by the new generation who are on the side of life. The very way in which the older generation are presented as dark provides a direct signal of the light values which the younger generation must embody, in order to show themselves as worthy to succeed.
但我们绝不仅仅在神话和民间故事等更明显的象征性故事类型中发现以这种方式呈现的“未实现的价值”。正如我们将在本书的其余部分中看到的那样，它绝对是故事在人类想象中形成的方式不可或缺的一部分。
But it is by no means only in the more overtly symbolic types of story, such as myths and folk tales, that we find the ‘unrealised value’ presented in this way. As we shall see in the rest of the book, it is absolutely integral to the way stories take shape in the human imagination.
第十七章
典型的家庭剧（续）
Chapter 17
The Archetypal Family Drama (Continued)
‘因此，人要离开父母，与妻子结合。他们将成为一体。
‘Therefore shall a man leave his father and his mother, and shall cleave unto his wife; and they shall be one flesh.’
创世记2.24
Genesis 2.24
在《大卫·科波菲尔》的开头，我们看到小英雄在年幼时就失去了父母，因此，就像许多民间故事和神话中的英雄一样，他成为了孤儿。然后，他陷入了可怕的默德斯通先生和默德斯通小姐夫妇的阴影下，他们在他的生活中扮演了黑暗父亲和黑暗母亲的角色。他开始了漫长而痛苦的成长过程，一路上跌倒在一系列其他黑暗人物的阴影下，直到我们看到他最终准备好与他的“真正的天使”阿格尼丝在一起，此时，整个过程巨大的故事已经解决。小说一开始就被一对黑暗情侣的高耸形象所笼罩。故事以男女主人公最终走出阴影，成为一对完全实现的光明情侣而告终。
At the beginning of David Copperfield we see the little hero, as a young child, losing both his parents, so that, like the heroes of so many folk tales and myths, he becomes an orphan. He then falls under the shadow of that fearsome couple Mr and Miss Murdstone, who take on the roles in his life of Dark Father and Dark Mother. He embarks on the long, painful process of growing up, falling under the shadow of a succession of other dark figures on the way, until we see him at last ready to come together with his ‘true angel’ Agnes, at which point the whole immense story is resolved. The novel thus begins overshadowed by the towering image of a dark couple. It ends with hero and heroine finally stepping out of the shadows as a fully-realised light couple.
当尼古拉斯·尼克尔比还是个小男孩时，他失去了父亲，他立即陷入了黑暗父亲，即他的叔叔拉尔夫的阴影之下。他随后遇到的所有黑暗人物都是他叔叔对他一生的沉思存在的不同表达——直到最终黑暗父亲的力量被推翻。将心爱的玛德琳从叔叔的束缚中解放出来后，英雄终于可以走入光明，成为正直男子气概的光辉典范，而邪恶、扭曲的拉尔夫爵士则不然。
When, as a young boy, Nicholas Nickleby loses his father, he immediately falls under the shadow of the Dark Father, his uncle Ralph. All the dark figures he subsequently encounters are different expressions of his uncle’s brooding presence over his life – until finally the Dark Father’s power is overthrown. Having liberated his beloved Madeleine from his uncle’s thrall, the hero can at last step out into the light, as a shining example of upright manliness in all the ways the evil, twisted Sir Ralph was not.
在《远大前程》的开头，我们看到小孤儿皮普落在两个看似阴暗可怕的年长人物的阴影下，即罪犯马格韦契和怨恨的老隐士郝薇香小姐，她的阴影里还有她迷人的小门徒艾丝黛拉。最后，许多年后，当马格韦契和郝薇香小姐双双惨死时，我们看到成熟的皮普和成熟、依然美丽的艾丝黛拉在郝薇香小姐被毁的房子的花园里走到了一起，“我没有看到另一个人与她分离的影子”。她'。
At the beginning of Great Expectations we see the little orphan Pip falling under the shadow of two seemingly dark and terrifying older figures, the convict Magwitch and the embittered old recluse Miss Havisham, with her bewitching little protegée Estella in her shadow. Finally, many years later, when Magwitch and Miss Havisham have both died violent deaths, we see the mature Pip coming together with the mature, still beautiful Estella in the garden of Miss Havisham’s ruined house, and ‘I saw no shadow of another parting from her’.
当小说在十八世纪和十九世纪的流行故事中占据主导地位时，它从民间故事传统中继承的元素之一就是追溯孤儿英雄或女英雄早期生活的故事。童年一直到成年后的最终“幸福结局”。狄更斯特别喜欢这种类型的故事。每当一个故事以这种方式从男女主人公的童年开始时，无论哪种类型的情节都可能主要塑造故事的呈现方式，它的展开方式可能会带有强烈的白手起家的元素。这是因为，用讲故事的语言来说，从童年到成年的成长过程自然地用白手起家的方式表达出来。我们第一次见到被忽视的小英雄或女英雄时的阴影——通常是由黑暗的父母人物投下的阴影——对应于他们最终将成为的尚未实现的价值；当他们最终意识到作为独立成年人的潜力时，阴影最终消失，他们完全出现在光明中。
When the novel emerged to play such a dominant role in the popular storytelling of the eighteenth and nineteenth centuries, one of the elements it inherited from the tradition of the folk tale was the idea of tracing the story of the orphaned hero or heroine’s life from early childhood all the way up to its eventual ‘happy ending’ in adult years. Dickens was particularly drawn to this type of tale. And whenever a story does begin with the hero or heroine’s childhood in this way, there is likely to be a strong Rags to Riches element in the way it unfolds, whichever type of plot may be primarily shaping the way the story is presented. This is because, in the language of storytelling, the process of growing up from childhood to adulthood naturally expresses itself in Rags to Riches terms. The shadows in which we first meet the disregarded little hero or heroine – usually those cast by dark parent-figures – correspond to the as-yet unrealised value of what they have it in them eventually to become; when they have at last realised that potential, as independent adults, the shadows finally drop away and they emerge fully into the light.
然而，在故事中，我们通常不会从童年时期的男女主人公开始。当我们第一次见到他们时，他们已经成年，或者即将成年。然而，它们还不是完全成熟、安定、幸福或完整的。故事一开始最熟悉的情况莫过于故事的中心人物是一个正在踏上成人世界舞台但尚未达到既定状态的年轻男女；最重要的是，他仍然单身。因此，就像从童年开始的版本一样，故事背后的真正问题是，到最后，我们是否可以看到他们“找到了自己”，这通常意味着幸福地与正确的“另一半”结合在一起，并找到了自己。一个新的、安全的生活中心。我们可以把他们留在那里，知道在某种最重要的意义上，他们的生活模式已经得到解决。一如既往，问题不仅仅是“他们能结婚吗”？他们能否以正确的方式做到这一点，表明所有人类生活的根本问题，即与自我主义同义的不成熟所造成的问题，已经得到面对和克服？
More often in stories, however, we do not begin with the hero or heroine in childhood. When we first meet them they are already adults, or on the verge of becoming so. What they are not, yet, is wholly mature, settled, happy or complete. No situation is more familiar at the start of a story than that its central figure is a young man or woman who is in the process of stepping out onto the stage of the adult world, but has not yet reached an established state; and who, above all, is still single. Just as in the versions which begin in childhood, therefore, the real question underlying the story is whether, by the end, we can see them having ‘found themselves’, which usually means happily united to the right ‘other half’ and having found a new, secure centre to their lives. There we can leave them, knowing that in some centrally important sense the pattern of their lives has been resolved. As always, the question is not simply ‘can they get married’? It is, can they do so in the right way, showing that the fundamental problem of all human life, the problem posed by that immaturity which is synonymous with egotism, has been confronted and overcome?
特别适合以这种方式呈现故事的情节是喜剧。当我们前面追溯喜剧的历史演变时，我们发现这类故事最初只是以更笼统的方式表现从碎片到整体的转变。在《吕西斯忒拉忒》中，阿里斯托芬将雅典城置于阴影之下，因为其统治者因沉迷于战争而被囚禁。在她们的影子下，代表女性价值的女性与男性的意志力和组织力量联合起来，将男性从“黑暗男性气质”的控制下赢得了胜利。结果是，最终，男性和女性和谐相处，社区恢复完整。在Thesmophoriazusae中雅典的妇女们被“黑暗男性气质”所附身，她们痴迷于对欧里庇得斯进行暴力报复。正是他让他们重新找到正确的感觉和分寸感，使他们恢复平衡，所以戏剧才能以幽默和解的形象结束。在《黄蜂女》中，残暴的老黑暗神父普罗克利昂代表了所有那些年老、枯竭的老年人，他们希望通过谴责他人的强迫性愿望来维护社会秩序的死气沉沉的愿景。1这是他的儿子，代表着青春和生命，通过让他的父亲再次感受到、看到完整并再次成为他真正的活生生的自我，将他的父亲从监禁中解放出来。
A plot which particularly lends itself to presenting the story in this way is Comedy. When we earlier traced the historical evolution of Comedy, we saw that this type of story was originally concerned with showing the transition from fragmentation to wholeness only in more general terms. In the Lysistrata Aristophanes shows the city of Athens under a shadow because its ruling menfolk have become imprisoned in their obsession with making war. In their shadow the women, representing the feminine value, band together with masculine strength of will and organisation to win the men from the grip of the ‘dark masculine’. The result is that, at the end, masculine and feminine are brought together in harmony and the community is restored to wholeness. In the Thesmophoriazusae it is the women of Athens who have become possessed by the ‘dark masculine’, in their obsessive desire for violent revenge on Euripides. It is he who, by putting them back in touch with their proper feeling and sense of proportion, wins them back to balance, so the play can end on an image of good-humoured reconciliation. In The Wasps, the tyrannical old Dark Father Procleon represents all those ageing, dried-up senior citizens who wish to uphold a lifeless vision of social order by their obsessive desire to condemn others.1 Here it is his son, representing youth and life, who liberates his father from his imprisonment by enabling him once more to feel, to see whole and to become once again his true living self.
当情节从这些开始发展成新喜剧时，发生的事情很简单，它进入了讲故事的主流，并扎根于处于其他类型故事中心的同一原型家庭剧中。故事的焦点变成了成功过渡到以年轻男女主角的结合为中心的新一代的需要。在这种背景下，正如我们所看到的，喜剧呈现出两种主要形式，这取决于他们结合的主要障碍是在老一代还是年轻一代。
What happened when the plot developed from these beginnings into the New Comedy was simply that it moved into the mainstream of storytelling and became anchored in that same archetypal family drama which is at the centre of other types of story. The focus of the story becomes the need to make that successful transition to a new generation which is centred on the union of the young hero and heroine. And in this context, as we have seen, Comedy took on two main forms, according to whether the main obstacle to their union lies in the older generation or the younger.
第一个故事向我们展示了相爱的男女主角，渴望结婚，但他们的结合之路却被黑暗父亲或黑暗母亲所阻挡。因此，我们看到了一个小世界，在这个世界中，通往未来生活的道路被这个世界的统治者陷入黑暗状态并成为暴君的事实所阻挡。年轻的英雄被置于所有其他类型故事中所熟悉的情境中，即“公主”被暴君或怪物所控制。在其他类型的故事中，他现在必须消灭怪物，才能将女主角从他的魔掌中解放出来。2但在喜剧中，每个人最终都必须正确而积极地在原型戏剧中扮演自己的角色，暴君本人必须首先从监狱中被解放出来，以便其他人都能够得到自由。解放了。当他的眼睛睁开并经历内心的改变时，他发现了自己“未实现的价值”。他变成了“光之父”。这使他认识到男女主角爱情的至高价值。继承之路已经扫清，男女主角可以走入光明，成为下一代的生活中心。
The first shows us the hero and heroine in love, longing to get married, but with the way ahead to their union barred by a Dark Father or a Dark Mother. We thus see a little world in which the road to future life is blocked by the fact that the ruling figure in that world has fallen into a state of darkness and become a Tyrant. The young hero is placed in the familiar situation of all those other types of story where the ‘Princess’ is in the grip of a tyrant or a monster; and in those other types of story he would now have to destroy the monster, in order to free the heroine from his clutches.2 But in Comedy, where everyone in the end has to be brought round to playing his or her role in the archetypal drama properly and positively, it is the tyrant himself who has first to be liberated from his prison, in order for everyone else to be liberated. As his eyes are opened and he goes through a change of heart, he is discovering the ‘unrealised value’ in himself. He is transformed into a ‘light Father’. This enables him to recognise the supreme value of the love between the hero and the heroine. The way to the succession has been cleared, and hero and heroine can step out into the light as the centre of life for the next generation.
另一种喜剧的问题在于年轻一代。要么是年轻的英雄还没有准备好成功，因为他已经被自己的黑暗状态与内在的女性气质隔绝了；在这种情况下，他必须发现自己“未实现的价值”（当中心人物是黑暗女主角时，情况也是如此）。或者我们看到一部喜剧，问题在于普遍的混乱，不知道谁应该最终与谁结合；在这种情况下，这种不确定性本身就象征着不成熟的状态，直到他们最终能够看得清楚，所有的困惑都得到解决。
The other type of Comedy is that where the problem lies in the younger generation. Either the young hero is not yet ready to succeed, because he has been cut off from his inner feminine by his own state of darkness; in which case it is he who must discover the ‘unrealised value’ in himself (exactly the same is true when the central figure is a dark heroine). Or we see one of those comedies where the problem simply lies in general confusion as to who should properly end up united to whom; in which case it is this uncertainty itself which symbolises the state of immaturity, until they are finally able to see clearly and all confusion is resolved.
从这些基础发展而来的一切喜剧都是这些基本主题的延伸。其基本信息是，为了人类生活的繁荣，每一代人都必须正确过渡到下一代。代表们老一代人必须发挥自己的作用，不要消极、专横、固守主导地位，从而扼杀生命的前进。年轻一代的代表必须具备足够的成熟度才能取得成功。必须在各个方向上实现适当的平衡。这最终意味着原型过程中涉及的四个角色——父亲、母亲、英雄和女英雄——都必须得到积极的演绎。因此，我们得到了这部戏剧的完整模型，它是讲故事的核心。
Everything that Comedy develops into from these foundations is an extension of these basic themes. For human life to flourish, runs its essential message, each generation has to make the proper transition to the next. The representatives of the older generation must play their part by not being negative and overbearing, clinging onto dominance and thus stifling the onward flow of life. The representatives of the younger generation must develop sufficient maturity for them to succeed. A proper balance must be achieved in all directions. And this means ultimately that the four roles involved in the archetypal process – father, mother, hero and heroine – must all be acted out positively. We thus arrive at a complete model of that drama which lies at the heart of storytelling.
典型家庭剧：总结
The archetypal family drama: Summing up
故事在人类想象中自然形成的方式，最引人注目的莫过于在表面之下，它们无意识地围绕着人类生活中最基本的戏剧，只涉及四个基本人物。在这些人物的黑暗版本中，我们看到了不同的消极方面，如果故事的中心人物最终要成功，就必须弥补并使其积极。
Nothing is more remarkable about the way stories naturally form in the human imagination than the way, beneath the surface, they unconsciously centre round this most fundamental of all dramas in human life, involving just four basic figures. In the dark versions of each of these figures we see a different negative aspect of that which has to be redeemed and made positive if the central figure of the story is ultimately to succeed.
这就是为什么最初站在一切之上的是黑暗父亲和/或黑暗母亲的冷酷形象。它们不仅仅是英雄或女英雄最终必须成为的负面阴影。从最宇宙的意义上来说，它们代表着权力、权威和人类世界的普遍秩序，当它变得最明显的压迫性和反对生命的流动时。它们象征着人类自我在没有爱或与外部世界没有任何联系的情况下的无情力量，而只有消除这一点才能使生命得到更新。
This is why, initially standing over everything, are the grim figures of the Dark Father and/or the Dark Mother. They are not only the negative shadows of what the hero or heroine must eventually become. In the most cosmic sense they represent power, authority and the prevailing order of the human world when it has become most obviously oppressive and opposed to the flow of life. They symbolise the remorseless strength of the human ego when it is without love, or any connection to the world outside itself, and it is this which must be eliminated for life to be renewed.
最明显的是，在他们的阴影下，年轻的女主人公，轻盈的女性，显得憔悴不堪。她既体现了他们所缺乏的赋予生命的价值，又体现了为使世界恢复完整而必须赎回的最高奖赏。根据定义，无私的光明女性与盲目的自我力量处于对立面。这就是为什么，尽管它的力量仍然没有受到挑战，我们却经常在故事中看到她作为一个无助的囚犯或受害者，要么是黑暗父亲的，要么是黑暗母亲的。更直接地说，她可能明确地被表现为他们中的一个或另一个的女儿：就像所有那些熟悉的坚强、无情的暴君和他被囚禁的女儿的形象一样（米诺斯和阿里阿德涅，阿克里修斯和达娜厄，埃忒斯和美狄亚，夏洛克和杰西卡，博尔孔斯基王子和玛丽亚）；或者那些同样熟悉的女儿在专横的黑暗母亲的魔咒下的形象（灰姑娘，白雪公主）。
Most obviously in their shadow languishes the young heroine, the light feminine. She embodies both the life-giving value which they lack and the supreme prize which must be redeemed to restore the world to wholeness. By definition, the selfless light feminine stands at the opposite pole to the blind power of the ego. This is why, while its power remains unchallenged, we see her so often presented in stories as a helpless prisoner or victim, either of a Dark Father or of a Dark Mother. More directly she may explicitly be shown as a daughter to one or other of them: as in all those familiar images of the strong, unloving Tyrant and his imprisoned daughter (Minos and Ariadne, Acrisius and Danae, Aetes and Medea, Shylock and Jessica, Prince Bolkonsky and Maria); or those equally familiar images of a daughter under the spell of an overbearing Dark Mother (Cinderella, Snow White).
故事的核心挑战是看到女主人公从这种监禁中解放出来。这意味着她找到了合适的英雄，既坚强又充满爱心，足以释放她。正是这种品质的结合使他既能救赎女主角，又能成功成为“王国”的统治者。这就是为什么我们通常将戏剧的最后阶段视为英雄与一边倒的黑暗男性之间的对抗，要么是直接挑战黑暗父亲本人，要么是与代表英雄自己的黑暗对手进行战斗影子在争夺最终目标。
The central challenge of stories is to see the heroine liberated from this imprisonment; and this implies she has found the right hero, both strong and loving enough to free her. It is this combination of qualities which enables him both to redeem the heroine and to succeed as ruler over the ‘kingdom’. This is why we usually see the final stage of the drama as a confrontation between the hero and the one-sided dark masculine, either by a direct challenge to the Dark Father himself, or through a battle with a Dark Rival who represents the hero’s own shadow in competing for the ultimate goal.
然而，为了成功完成挑战，英雄必须已经成功地发展了外在的男性气质和内在的女性气质。他的好与女性的关系最初可能是通过与“光明母亲”的积极关系而发展起来的。但要成为一个完整的男人，他最终必须摆脱这种依赖，否则它就会变成黑暗女性的阉割之握。只要英雄仍然处于母亲、年长的女人、妖妇的魔咒之下，他就仍然是软弱的“无法成长的男孩英雄”。他一开始就无法发展出男性的力量或坚强的性格来应对争夺真正女主角的挑战。这将使他陷入与黑暗之父冲突的无能为力的姿态，根据“未实现价值”的法则，黑暗之父也代表了英雄无法在自己身上表现出的男子气概。
To make the challenge successfully, however, the hero must already have successfully developed both outward masculinity and inner femininity. His good relationship to the feminine may initially have been developed through a positive relationship to a ‘light Mother’. But to become fully a man he must eventually escape from this dependence, or it will turn into the emasculating grip of the dark feminine. So long as the hero remains in any way under the spell of Mother, the older woman, the Temptress, he remains the weak ‘boy hero who cannot grow up’. He cannot develop the masculine strength or firmness of character to rise to the challenge of contending for the true heroine in the first place. This will leave him frozen in an impotent posture of conflict with the Dark Father who, by the law of the ‘unrealised value’, thus comes also to represent the masculinity the hero cannot make positive in himself.
在这样的情况下，如果男主角不足以应对挑战，女主角本人必须以某种方式继续受到黑暗男性能量的束缚，而一切仍然悬而未决。
In such a situation, where the hero is not adequate to the challenge, the heroine herself must in some way remain in thrall to the dark masculine, and everything remains unresolved.
一旦我们认识到隐藏在许多故事讲述背后的原型过程的核心动力，我们就会发现，我们在故事中看到的许多情况都有助于以新的视角来展示。为了说明这一点，本章最后再次看四个喜剧例子，每个例子都将注意力集中在这个四角关系网络中一些不太熟悉的方面。
Once we come to recognise this central dynamic to the archetypal process which lies behind so much of storytelling, it is remarkable how many of the situations we see in stories it helps to show in a new light. To illustrate this this chapter ends by looking again at four examples of Comedy, each of which concentrates attention on some less familiar aspect of this four-cornered network of relationships.
前两部《汤姆·琼斯》和《玫瑰骑士》以不同的方式关注英雄摆脱“母亲”的影响的问题。其他的《名歌手》和《米德尔马契》则集中讨论了女主人公如何找到自己的力量，摆脱“父亲”的束缚而获得独立的问题。
The first two, Tom Jones and Der Rosenkavalier, focus in different ways on the problem of the hero in escaping the pull of ‘Mother’. The others, Die Meistersinger and Middlemarch, centre on the problem for the heroine in finding her own strength to win independence from the pull of ‘Father’.
汤姆·琼斯
Tom Jones
在汤姆·琼斯身上，我们看到了一位英雄，作为一个来到这个世界上没有任何适当、安全的生活前景的小弃儿，他的主要问题是发展他的男性身份。从一开始，善良、诚实的汤姆就表现出了与女性的有希望的联系，女性是他内在身份的中心，女主人公索菲亚·韦斯特爱他而不是他的黑暗对手布利菲尔这一事实表明了这一点。但因为他表面上只是一个可怜的孤儿，所以他们小世界中的主导力量——以女主人公的黑暗父亲乡绅韦斯特为中心的老一代——无法想象会允许他们结婚。
In Tom Jones we see a hero whose chief problem, as a little foundling who has arrived in the world without any prospects of a proper, secure station in life, is to develop his masculine identity. From the beginning the kind-hearted, honest Tom shows a promising connection to the feminine, the centre of his inner identity, as is indicated by the fact that the heroine, Sophia Western, loves him rather than his Dark Rival, Blifil. But because he is outwardly only a poor orphan, the dominant power in their little world – the older generation, centred on Squire Western, the heroine’s Dark Father – cannot conceive of allowing their match.
汤姆真正的任务是建立一种对自己的男子气概的安全感，赋予他坚强的性格、自律和在世界上的明确地位。因此，他所面临的大部分磨难，暴露了他缺乏自制力，都集中在与妖妇或黑暗母亲人物的一系列遭遇上。当他短暂地觉得自己实际上是在和自己的母亲做爱时，这些事情就达到了高潮：故事中那种表面上令人费解的事件的完美例子，就像费加罗与玛塞利娜的关系，只有在其故事情节方面才有意义。更深层次的原型象征意义。但穿插在这些情节中，每一个情节都有可能摧毁汤姆并使他与索菲亚永远分离，他最终在伦敦的阴暗世界中开始证明自己坚强，足智多谋和独立，其他人的问题。正是在“低等境界”，我们看到汤姆逐渐走向成熟，不再只是一个困惑、和蔼可亲的年轻人，软弱地受诱惑和环境的摆布。这就是为什么，当普遍“认可”的时刻到来时，我们会非常满意地发现汤姆一直是奸诈、缺乏男子气概的布利菲尔的哥哥（也是更优秀的）。汤姆终于在世界上确立了他应有的男子气概，而以斯奎尔·韦斯特为首的老一代人终于非常高兴地承认他值得与索菲亚结合。
Tom’s real task is to build up a secure sense of his own manliness, to give him strength of character, self-discipline and a defined position in the world. Thus most of the ordeals he faces, exposing his lack of self-control, centre round a series of encounters with Temptress or Dark Mother figures. These come to a head when he is briefly under the impression that he has actually made love to his own mother: a perfect instance of the sort of superficially inexplicable incident in stories, like Figaro’s involvement with Marcellina, which only makes sense in terms of its deeper archetypal symbolism. But interspersed with these episodes, each of which threatens to destroy Tom and tear him apart from Sophia forever, he eventually, in the shadowy world of London, begins to prove himself as strong, resourceful and independent, capable of courageously intervening to sort out other people’s problems. It is here in the ‘inferior realm’ that we see Tom developing towards maturity, as no longer just a bewildered, amiable young man weakly at the mercy of temptation and circumstance. This is why, when the moment of general ‘recognition’ arrives, we find it entirely satisfying to discover that Tom was the older (and superior) brother to the treacherous, unmanly Blifil all along. Tom has at last established his proper manly identity in the world, and the older generation, led by Squire Western, are at last only too happy to recognise him as worthy to be united to Sophia.
玫瑰骑士
Der Rosenkavalier
在《汤姆·琼斯》中，重点是英雄自己努力摆脱黑暗女性的瓦解拉力。在《玫瑰骑士》中，我们看到整个戏剧的同一部分的关注点截然不同：这一次是“母亲形象”，她自愿放弃对英雄的控制，帮助他进入适当的男子气概状态。我们从一个年轻的、不成熟的英雄开始，他与一个强大的、年长的女人有染（更不用说他是由女演员扮演的事实），这一事实强调了他缺乏男子气概。奥克塔维安爱上了这位年轻的女主人公，却发现他的老对手奥克斯男爵和苏菲的暴发户之间的“黑暗男性”联盟挡住了他的出路。父亲希望强迫她与奥克斯结婚，以提高自己的社会地位。但当故事的中心人物元帅表明她并不是一个希望不惜一切代价抓住她的“儿子情人”的黑暗母亲时，救赎就到来了。正是她巧妙地策划了推翻黑暗对手的行动，从而打开了黑暗之父的眼睛和心灵，让他们看到了男女主角的真爱。这部歌剧达到了感人的高潮，元帅悲伤但优雅地屈服于生命流向新一代的需要，并将奥克塔维安交给了他真正的“另一半”。就像卡吕普索放弃奥德修斯一样，她因此展现出自己是光之母的形象，在适当的时候引导英雄走向他的男子气概。
In Tom Jones the focus is on the hero’s own efforts to break loose from the disintegrating pull of the dark feminine. In Der Rosenkavalier we see the same part of the overall drama focused quite differently: this time on the ‘Mother-figure’ who by voluntarily relinquishing her hold on the hero helps to push him forward into his proper state of manhood. We begin with a young, immature hero whose lack of masculinity is emphasised by the fact that he is having an affair with a powerful, older, woman (not to mention the fact that he is played by an actress). Octavian falls in love with the young heroine, only to find the way barred by a forbidding ‘dark masculine’ alliance between his older rival, the Baron Ochs, and Sophie’s nouveau riche father, who wishes to force her into marriage with Ochs to improve his own social position. But salvation comes when the Marschallin, the central figure of the story, shows that she is not a Dark Mother who wishes to hold onto her ‘son-lover’ at all costs. It is she who cunningly masterminds the overthrow of the Dark Rival, in such a way as to open the eyes and heart of the Dark Father to the hero and heroine’s true love. The opera comes to its moving climax as the Marschallin surrenders sadly but gracefully to the need for life to flow onward into a new generation, and she hands over Octavian to his true ‘other half’. Like Calypso relinquishing Odysseus, she thus shows herself to be the Light Mother-figure who guides the hero forward to his manly destiny when the time is right.
名歌手
Die Meistersinger
名歌手故事的重点不是整个戏剧中的“母子”部分，而是“父女”关系。当在开场场景中，年轻的男女主人公在教堂相遇并开始坠入爱河时，我们看到了一个新的完整中心开始形成的所有迹象（通过背景和庄严的神圣音乐来强调）。但每个人在团结起来之前还有很长的路要走。伊娃仍然生活在她父亲的阴影之下，尽管他答应将她释放给英雄，而英雄通过赢得伟大的歌曲比赛证明了自己的价值。瓦尔特仍然需要证明自己的男子气概，他迈出了第一步，试图进入这座城市的统治机构和男性权威中心——大师歌手协会，该协会已经陷入了痴迷于秩序的贝克梅瑟的黑暗影响。瓦尔特被他的黑暗对手打乱了秩序，只有汉斯·萨克斯认为瓦尔特具有完整的潜力。他只需要再成熟一点，就能掌控自己充沛的力量和生命。
In Die Meistersinger the focus of the story is not on the ‘Mother-Son’ part of the overall drama but on the ‘Father-Daughter’ relationship. When in the opening scene the young hero and heroine meet in church and begin to fall in love, we see all the signs of a new centre of wholeness beginning to form (emphasised by the setting and solemn holy music). But each has a long way to develop before they can be united. Eva is still under the shadow of her father, although he has promised to release her to the hero who proves his worthiness by winning the great song contest. Walther still has to prove his manhood, and he takes the first step by trying to enter the city’s ruling body and centre of masculine authority, the Guild of Mastersingers, which has fallen under the dark influence of the order-obsessed Beckmesser. Walther is ruled out of order by his Dark Rival, and only Hans Sachs observes that Walther has all the potential for wholeness. He merely needs a little more maturity to control his abounding power and life.
随着伟大比赛的临近，我们看到了故事的心理关键：尚未成熟的伊娃恐惧地依附于萨克斯，希望以某种方式，如果她必须嫁给任何人，那就是他；她仍然不愿意切断与年长男人的保护和父亲般的存在的联系。但就像元帅推动奥克塔维安走向成年一样，萨克斯也敦促女主人公向前迈进，迎接她应有的女性命运。最后，瓦尔特以他的本来面目出现，通过歌曲无与伦比的美丽和真实展示了他内在的女性气质，并通过赢得比赛展示了他的精湛技艺。所有的自我中心都被超越了，被羞辱的贝克梅瑟被嘲笑下台的景象就象征着这一点。瓦尔特和伊娃可以走到舞台中央，完美地结合在一起。
As the great contest draws near we see the psychological crux of the story, when the still immature Eva clings fearfully to Sachs, hoping that somehow, if she has to marry anyone, it can be him; she is still reluctant to cut her tie to the protective, fatherly presence of an older man. But like the Marschallin pushing Octavian forward to manhood, Sachs urges the heroine forward to meet her proper feminine destiny. Finally Walther emerges in his true colours, demonstrating both his inner feminine through the incomparable beauty and truth of his song, and his mastery by winning the contest. All egocentricity has been transcended, symbolised by the sight of the humiliated Beckmesser being laughed off the stage. Walther and Eva can step to centre-stage, joined in perfect wholeness. And the opera ends on a hymn of praise to the wise father-figure Sachs who has guided the whole drama to its proper, life-renewing conclusion.
米德尔马奇
Middlemarch
事实上，直到我们看到女作家的喜剧情节的例子，我们才看到整个画面中这个特殊的“父女”方面得到了适当的深入探讨。米德尔马契的故事（就像简·奥斯汀的艾玛的故事一样））完全以女主人公为摆脱黑暗男性的统治而进行的长期斗争为中心，这种统治威胁着她内在的、赋予生命的女性气质。知识分子多萝西娅·布鲁克爱上了枯燥的老父亲形象卡苏邦，想象她将能够在与丈夫持续的“父女”关系中幸福地生活，充当尽职尽责的抄写员，服务于他崇高的知识野心。但我们已经看到更加敏感、更具艺术气质的威尔·拉迪斯瓦夫（Will Ladislaw）在不知不觉中展现出她内心的生命力和女性气质；正如我们看到她发现卡苏朋表面上的学术炫耀只是一种毫无生气、以自我为中心的骗局，一种自欺欺人的幻觉，一个没有阿里阿德涅线索的精神迷宫。卡苏朋死后，他给她留下了诅咒，试图将她永远囚禁在他的阴影下，故事的其余部分表明多萝西娅逐渐接受了她内心的女性气质。渐渐地，尽管受到诅咒，她还是摆脱了卡索邦的阴影，直到“承认”的时刻终于到来，那时她和拉迪斯瓦夫可以公开承认彼此的爱。她终于幸福地从黑暗男性的幽灵般的暴政中解放出来。
In fact it is not until we come to examples of the Comedy plot by women writers that we see this particular ‘Father-Daughter’ aspect of the overall picture explored in proper depth. The story of Middlemarch (like that of Jane Austen’s Emma) is entirely centred round the long struggle of its heroine to break free from the dominance of the dark masculine which threatens to stifle her own inner, life-giving femininity. The intellectual Dorothea Brooke falls for the dried-up old father-figure Casaubon, imagining that she will be able to live happily in a continuing ‘Father-Daughter’ relationship with her husband, acting as the dutiful amanuensis serving his lofty intellectual ambitions. But already we see the more sensitive, artistic Will Ladislaw appealing unconsciously to the life and femininity within her; just as we see her discovering that Casaubon’s outward parade of scholarship is just a lifeless, egocentric sham, a self-deceiving illusion, a mental labyrinth without Ariadne’s thread. After Casaubon’s death, leaving on her the curse by which he attempts to keep her imprisoned in his shadow forever, the rest of the story shows Dorothea gradually coming to terms with her inner feminine. Gradually, despite the curse, she escapes from Casaubon’s deadening shadow, until finally the moment of ‘recognition’ arrives, when she and Ladislaw can openly admit their love to one another. She is at last happily liberated from the ghostly tyranny of the dark masculine.
冬天的故事
The Winter’s Tale
这就是喜剧情节的普遍性，以这样的方式，它可以用来反映典型戏剧的每一个细微差别。在我们刚才看到的四个例子中，故事的关键人物依次是英雄、母亲形象、父亲形象和女主角：组成家庭戏剧的四个人物中的每一个，以及每个人都以一种不寻常的方式发挥自己的作用，使事情得出正确的结论。但喜剧的一些最完整的版本是那些同时展开的情节的两种基本形式的混合：这样故事就不仅仅结束于年轻男女主角的形象结合在一起，周围都是快乐的父母和朋友，但两对夫妇从阴影中走到一起，一对代表年轻一代，另一对代表年长一代。
Such is the universality of the Comedy plot that, in ways like these, it can be used to reflect every nuance of the archetypal drama. In the four examples we have just looked at, the key figure of the story has been, in turn, the hero, the mother-figure, the father-figure and the heroine: each of the four figures making up the family drama, and each presented as playing his or her part in bringing it to its proper conclusion in a way that is unusual. But some of the most complete versions of Comedy are those which show the intermingling of both the basic forms of the plot unfolding at the same time: so that the story ends not just on the image of a young hero and heroine joined together, surrounded by joyful parents and friends, but on that of two couples brought together out of the shadows, one representing the younger generation, the other the older.
在冬天的故事里我们从国王/父亲、王后/母亲和他们的小儿子开始，代表着新生活的承诺。但里昂提斯立刻陷入了黑暗状态，严重冤枉了他的妻子（并通过悲剧性的“黑暗反转”将他最好的朋友波利克塞尼斯国王变成了想象中的黑暗对手）。在暴君的阴影下，现在一切都变得非常糟糕。首先，他把他的女性“另一半”赫敏投入监狱，她在那里生下了一个女儿佩迪塔，莱昂特斯立即下令将她遗弃至死。然后，他的儿子，代表下一代，因母亲的困境而悲痛而死。最后赫敏似乎也死了。此时，莱昂提斯陷入了悔恨之中，我们看到他迈出了第一步，认识到自己已经成为一个怪物。果然我们知道了那个小佩迪塔，正如她的名字所暗示的那样，“失去的女性”毕竟还没有死；她只是在很远的地方，在‘下等境界’。然后，我们完全遵循戏剧的心理本质，即她逐渐成熟，女性价值秘密发展，直到她爱上年轻的弗洛里泽尔王子，代表着一个潜在的新的整体中心。尽管这对年轻的恋人随后陷入了黑暗之父波利克塞尼斯的阴影下——在这个阶段，黑暗的男性力量仍然对故事有一定的影响——但他们逃向了悲伤的莱昂提斯，我们发现他已经在完成内心转变的路上了。然后他和波利克塞尼斯重聚，祝福这对年轻恋人的结合。最后，随着最后一块拼图到位，莱昂提斯与他失去的“另一半”赫敏重聚了，这样故事就可以以象征完整的最终四个角结束：父亲、母亲、英雄和女主人公，所有人都从阴影中走出来，快乐地团结在一起。从黑暗变成光明，原型家庭就完整了。
In The Winter’s Tale we begin with a King/Father, a Queen/Mother and their young son, representing the promise of new life. But at once Leontes falls into the state of darkness, grievously wronging his wife (and turning his best friend King Polixenes, by the tragic ‘dark inversion’, into an imagined Dark Rival). In the Tyrant’s shadow everything now goes as wrong as could be. First he throws his feminine ‘other half’ Hermione into prison, where she gives birth to a daughter, Perdita, whom Leontes promptly orders to be abandoned to die. Then his son, representing the next generation, dies of grief for his mother’s plight. Finally it seems Hermione has died also. At this point, where Leontes is stricken with remorse, we see him taking the first step towards recognising what a monster he has become. Sure enough we learn that little Perdita, the ‘lost feminine’ as her name implies, is not dead after all; she is just far away, in an ‘inferior realm’. We then follow the psychological essence of the drama entirely in terms of her growing to maturity, the feminine value secretly developing, to the point where she falls in love with young Prince Florizel, representing a potential new centre of wholeness. Although the young lovers then fall under the shadow of the Dark Father, Polixenes – the dark masculine still holds some sway over the story at this stage – they flee to the sorrowing Leontes, whom we find already well on the way to complete inward transformation. He and Polixenes are then reunited in blessing the union of the young lovers. Finally, as the last piece of the jigsaw falling into place, Leontes is reunited with his lost ‘other half’ Hermione, so that the story can end on the ultimate four-cornered symbol of wholeness, father, mother, hero and heroine, all brought out of the shadows and joyfully united. Turned from darkness into light, the archetypal family is complete.
《冬天的故事》中至关重要的转变角色是由佩迪塔（Perdita）这个闪亮的人物扮演的，她起源于黑暗最盛的时候，就像一个新生的小婴儿一样，秘密地增强力量，直到她最终能够凯旋地进入“上界”莱昂提斯的宫廷，让每个人都充满光明。她是女性价值的完美象征，故事中的其他人最终都围绕着她进入了一种完整的状态。从这个角度来看，《冬天的故事》既是一部喜剧，也是一部重生之作。而且，正如我们所看到的，重生情节的突出特点之一是它赋予救赎人物的核心重要作用，将男女主角从阴影中带入光明。
The crucial transforming role in The Winter’s Tale is played by the shining figure of Perdita, originating when the darkness is at its height as a little new-born baby, growing secretly in strength until she can at last emerge triumphantly into the ‘upper realm’ of Leontes’s court, to flood everyone with light. She is a perfect symbol of the feminine value, around whom everyone else in the story is ultimately drawn up into a state of wholeness. In this respect The Winter’s Tale is as much a Rebirth as a Comedy. And, as we have seen, one of the outstanding features of the Rebirth plot is the centrally important role it gives to the redeeming figure, drawing the hero or heroine out of the shadows into light.
到目前为止，在研究对讲故事至关重要的象征性人物时，我们主要关注他们的阴暗面。终于到了转向他们的对立面的时候了：那些旨在领导和激励男女英雄实现目标的人，伟大的光之人物。
So far in looking at the symbolic figures who are central to storytelling we have concentrated on their dark aspects. It is finally time to turn to their opposites: those whose purpose is to lead and inspire the hero and heroine to their goal, the great figures of light.
第18章
光影
Chapter 18
The Light Figures
“当我静静地思考这些想法并发泄我的悲伤时……我意识到一个女人站在我身边。她的容貌令人肃然起敬，双眸灼热而敏锐，超乎男人一般的力量。她的年纪如此之大，我几乎无法想象她是同辈人，但她却拥有鲜艳的色彩和不减的活力。很难确定她的身高，因为有时她只有普通人的大小，而有时她似乎触碰到了天空……
‘While I was quietly thinking these thoughts over to myself and giving vent to my sorrow ... I became aware of a woman standing over me. She was of awe-inspiring appearance, her eyes burning and keen beyond the usual powers of men. She was so full of years that I could hardly think of her as of my own generation, and yet she possessed a vivid colour and undiminished vigour. It was difficult to be sure of her height, for sometimes she was of average human size, while at others she seemed to touch the sky ...
她见我不是不肯说话，而是目瞪口呆，不能说话，便轻轻地将手放在我的胸前，说道：“没什么大不了的，只是有点失忆而已，就是普通的触感。”的迷惑心。他有一段时间忘记了自己是谁，但一旦认出我，他很快就会记起来……”
When she saw that it was not that I would not speak but that, dumbstruck, I could not, she gently laid her hand on my breast and said “It is nothing serious, only a touch of amnesia that he is suffering, the common touch of deluded minds. He has forgotten for a while who he is, but he will soon remember, once he has recognised me...”
我悲伤的乌云消散了，我沐浴在光明中。”
The clouds of my grief dissolved and I drank in the light’.
波伊提乌斯在《哲学安慰》中遇见了智慧之神索菲亚
Boethius meets Sophia, the Spirit of Wisdom, in De Consolatione Philosophiae
在讲述这个世界的故事中，我们一次又一次地遇到两个神秘而令人难以忘怀的人物。他们不像我们在故事中经常看到的男女主角周围出现的其他角色。当这些人物中的一个或两个出现时，与其说是直接参与行动，不如说是在侧翼发挥一种引导作用。他们可能会在关键时刻出现提供建议。当事情出现问题时，他们可能会介入，让男女主人公回到正确的道路上。他们可以提供重要的帮助。他们主要关心的是目标是否能够实现。一个是男性，另一个是女性。他们经常以某种方式一起出现，或者结成联盟。这些是荣格根据他在神话、民间故事、人类想象中出现的经验所确定的原型人物。
Again and again in the storytelling of the world we meet two mysterious and haunting figures. They are not like any of the other characters we see constantly reappearing around the hero and heroine in stories. When either or both these figures appear, it is not so much to take a direct part in the action as to play a kind of guiding role from the wings. They may appear at critical moments to offer advice. They may intervene when things are going wrong, to bring the hero or heroine back to the right path. They can give vital help. Their chief concern is that the goal should be reached. One is male, the other female. They often appear in some way together, or in alliance. These are the archetypal figures identified by Jung, from his experience of seeing them emerging to the human imagination in myths, folk tales, dreams and paintings all over the world, as the Wise Old Man and the Anima.
在本书的过程中，我们已经多次瞥见了这位智者。他在《奥德赛》中扮演泰瑞西亚斯，在《埃涅阿斯纪》中扮演安喀塞斯，在《暴风雨》中扮演普洛斯彼罗，在《以牙还牙》中扮演公爵，在《战争与和平》中扮演老农民柏拉图，他的智慧改变了皮埃尔的生活，在《名歌手》中扮演汉斯·萨克斯，《罪与罚》中的波尔菲里法官、《群魔》中的吉洪神父、《亚瑟王传奇》中的梅林、《星球大战》中的欧比·万-克诺比。在下一章中，我们将看到他在《指环王》中饰演甘道夫，饰演哈利·波特霍格沃茨校长邓布利多教授，《魔笛》中饰演萨拉斯特罗。他甚至可能不是人类外观，如他在 CS Lewis 的《纳尼亚传奇》中饰演狮子阿斯兰，以及在《狮子王》中饰演猴子拉菲基，或作为布须曼民间传说中的螳螂。但智者的本质始终是一样的：他是一个代表完全成熟状态的男性人物。他是一个走完了个人内在发展之路的人（他甚至可能不是特别老，尽管他肯定不年轻）。事实上，虽然外表上是一个男人，但他代表了人性中男性和女性的完美平衡。他坚强、自主、有权威。他的男子气概是毫无疑问的。但他也在很大程度上体现了女性内在的品质，即对他人的保护感和直觉理解，以及看到整体的能力。他最常见的身体特征（除了作为年龄和权威标志的雄伟胡须之外）是他敏锐洞察力的眼睛。“明智”一词与“愿景”同根。它意味着内在视野的深度和广度，它超越了仅以自我为中心的意识的扭曲和一厢情愿的想法，并且能够从长期的经验中看到事物和人的真实面目。智者老人或多或少有一种超自然的光环，因为他以某种方式与生命的神秘整体联系在一起，超越了表面或短暂的表象。他能够看到过去和未来，因为他超越了当下的界限，知道控制事物外在变化的生长和衰退的隐藏规则。他接触到了完全超越时间和物质世界的终极现实的某些维度。我们总是有这种感觉（例如，每当甘道夫出现在 它意味着内在视野的深度和广度，它超越了仅以自我为中心的意识的扭曲和一厢情愿的想法，并且能够从长期的经验中看到事物和人的真实面目。智者老人或多或少有一种超自然的光环，因为他以某种方式与生命的神秘整体联系在一起，超越了表面或短暂的表象。他能够看到过去和未来，因为他超越了当下的界限，知道控制事物外在变化的生长和衰退的隐藏规则。他接触到了完全超越时间和物质世界的终极现实的某些维度。我们总是有这种感觉（例如，每当甘道夫出现在 它意味着内在视野的深度和广度，它超越了仅以自我为中心的意识的扭曲和一厢情愿的想法，并且能够从长期的经验中看到事物和人的真实面目。智者老人或多或少有一种超自然的光环，因为他以某种方式与生命的神秘整体联系在一起，超越了表面或短暂的表象。他能够看到过去和未来，因为他超越了当下的界限，知道控制事物外在变化的生长和衰退的隐藏规则。他接触到了完全超越时间和物质世界的终极现实的某些维度。我们总是有这种感觉（例如，每当甘道夫出现在 看到事物和人的真实面目。智者老人或多或少有一种超自然的光环，因为他以某种方式与生命的神秘整体联系在一起，超越了表面或短暂的表象。他能够看到过去和未来，因为他超越了当下的界限，知道控制事物外在变化的生长和衰退的隐藏规则。他接触到了完全超越时间和物质世界的终极现实的某些维度。我们总是有这种感觉（例如，每当甘道夫出现在 看到事物和人的真实面目。智者老人或多或少有一种超自然的光环，因为他以某种方式与生命的神秘整体联系在一起，超越了表面或短暂的表象。他能够看到过去和未来，因为他超越了当下的界限，知道控制事物外在变化的生长和衰退的隐藏规则。他接触到了完全超越时间和物质世界的终极现实的某些维度。我们总是有这种感觉（例如，每当甘道夫出现在 他能够看到过去和未来，因为他超越了当下的界限，知道控制事物外在变化的生长和衰退的隐藏规则。他接触到了完全超越时间和物质世界的终极现实的某些维度。我们总是有这种感觉（例如，每当甘道夫出现在 他能够看到过去和未来，因为他超越了当下的界限，知道控制事物外在变化的生长和衰退的隐藏规则。他接触到了完全超越时间和物质世界的终极现实的某些维度。我们总是有这种感觉（例如，每当甘道夫出现在指环王）他正在为某种伟大的事业和目的服务，而这完全超越了任何自私或个人利益。
We have already glimpsed the Wise Old Man a good many times in the course of this book. He appears as Teiresias in the Odyssey, as Anchises in the Aeneid, as Prospero in The Tempest and as the Duke in Measure for Measure, as Platon the old peasant whose wisdom transforms Pierre’s life in War and Peace, as Hans Sachs in Die Meistersinger, as the magistrate Porfiry in Crime and Punishment, as Father Tikhon in The Possessed, as Merlin in the Arthurian legends, as Obi Wan-Kenobi in Star Wars. In the next chapter we shall see him as Gandalf in The Lord of the Rings, as Professor Dumbledore, the headmaster of Harry Potter’s Hogwarts, as Sarastro in The Magic Flute. He may even not be human in his appearance, as when he appears as Aslan the lion in C. S. Lewis’s Narnia books, as Rafiki the monkey in The Lion King, or as Mantis in Bushman folklore. But the essence of the Wise Old Man is always the same: he is a male figure who represents a state of complete maturity. He is someone who has travelled the full road of personal inner development (he may not even be particularly old, although he is certainly not young). In fact, although outwardly a man, he represents the masculine and the feminine in human nature in perfect balance. He is strong, autonomous and authoritative. There is no doubt about his masculinity. But he also, to a marked degree, embodies the inner feminine qualities of protective feeling for others and intuitive understanding, the ability to see whole. The most usual physical attributes he is given (apart, often, from an imposing beard as a mark of his age and authority) are his keenly penetrating eyes. The word ‘wise’ comes from the same root as ‘vision’. It means the depth and breadth of that inner vision which transcends the distortions and wishful thinking of consciousness centred only on the ego, and is able, from long experience, to see things and people for what they really are. The Wise Old Man has a more or less supernatural aura because he is somehow connected to the mysterious totality of life, beyond superficial or transitory appearances. He can see into the past and the future because he rises above the confines of the immediate present and knows the hidden rules of growth and decay which govern the outward transformation of things. He is in touch with some dimension of ultimate reality which transcends time and the physical world altogether. And we always have the sense (as, for instance, whenever Gandalf appears in The Lord of the Rings) that he is working in the service of some immense cause and purpose which entirely transcends any selfish or personal interest.
我们在《奥德赛》中遇到过智慧老人的女性对应物，雅典娜，智慧女神；作为引导埃涅阿斯进入地狱的女祭司西比尔；那些神秘的“年轻女性”在许多其他探索故事中扮演着重要的向导角色；以及《金驴》中拯救卢修斯的女神伊西斯的威风凛凛的形象。在这种超自然的表现中，比如当她在《指环王》中以加拉德瑞尔的身份出现在佛罗多面前，或在《神曲》中以贝阿特丽斯的身份出现在但丁面前时，阿尼玛形象以她最神秘的面貌代表了“永恒的女性”。但就像智者老人一样，当她以这样的表现形式单独出现时，她也非常明显地代表着女性和男性特质的平衡。外表上，她是一位优雅而美丽的女性，代表着保护感和洞察整体的远见力量。但她也充满了男性的内在力量和权威，这就是为什么她常常拥有令人印象深刻的外表，就像高耸的西比尔一样；或者穿着半男性化的服装，就像戴着头盔和长矛、身材高大、眼睛闪闪发光的雅典娜。
The Wise Old Man’s feminine counterpart we have encountered as Athene, the goddess of wisdom in the Odyssey; as the priestess Sibyl who guides Aeneas down into the underworld; in those mysterious ‘young women’ who play such an important role as guides in many other Quest stories; and as the awe-inspiring figure of the goddess Isis who redeems Lucius in The Golden Ass. In such supernatural manifestations, as when she appears to Frodo as Galadriel in The Lord of the Rings or to Dante as Beatrice in The Divine Comedy, the Anima-figure represents the ‘eternal feminine’ in her most numinous guise. But like the Wise Old Man, when she appears on her own in such manifestations, she also stands very obviously for a balance of feminine and masculine qualities. Outwardly a woman, with her grace and beauty, she represents protective feeling and the visionary power to see whole. But she is also imbued with the inner strength and authority of the masculine, which is why she is so often of imposing physical appearance, like the towering Sibyl; or clad in semi-masculine garb, like the tall ‘flashing-eyed’ Athene with her helmet and spear.
事实上，智者和阿尼玛最终是人类心灵中同一种深层力量的不同方面，这可以从他们经常以完美联盟的方式出现的趋势中看出。在这种情况下，他们可能会出现在父女关系中，其中老人表达了男性权威的全部分量，而年轻女孩则在所有方面表达了较柔和的女性权威。闪耀的纯洁。在《李尔王》的最后阶段，我们看到了这种塑造原型的力量的一种特别感人的表达。在那里，当国王在失败的深渊中找到了新的内在主权和清晰的视野时，我们看到李尔和科迪莉亚处于这种智者老人和阿尼玛关系的转瞬即逝的星座中，最终在他们的爱和能力中团结起来，看到了世界的未来。内在的真相。一个更奇怪的例子是忒修斯的故事，我们看到代达罗斯的形象发生了巨大的变化，代达罗斯是一位邪恶的老魔法师，创造了牛头怪和迷宫。最后，当代达罗斯给阿里阿德涅魔线，引导忒修斯走出迷宫的那一刻，我们看到他从死亡的一边转向了生命的一边；在那一刻，在我们内心的眼睛里，我们看到代达罗斯和阿里阿德涅在忒修斯最迫切需要的时刻与智者和阿尼玛相遇，
Indeed the way in which the Wise Old Man and the Anima are ultimately aspects of the same deep power in the human psyche can be seen in their tendency often to appear together in perfect alliance. In such instances they may appear in a Father-Daughter relationship, where the old man expresses the full weight of masculine authority and the young girl expresses the softer feminine in all its shining purity. We see a peculiarly moving expression of the power of this shaping archetype in the closing stages of King Lear where, as the king in the depths of his defeat finds a new inner sovereignty and clarity of vision, we see Lear and Cordelia in an evanescent constellation of this Wise Old Man and Anima relationship, united at last in their love and capacity to see the inner truth. An even stranger example is in the story of Theseus, where we see the extraordinary change coming over our image of Daedalus, the wicked old magician who had created the Minotaur and the Labyrinth. At last, at the moment when Daedalus gives Ariadne the magic thread which will lead Theseus out of the maze, we see him switching from the side of death to the side of life; and at that moment, in our inner mind’s eye, we see Daedalus and Ariadne constellating in Theseus’s hour of most desperate need into the Wise Old Man and the Anima, the twin symbolic figures presiding over the hero’s salvation, leading him out of darkness into light.
关于这两个伟大的原型人物的要点在于，他们是故事中神秘的目的性力量的最高个人表达，这种力量不仅引导英雄本人实现目标，而且是故事在故事中形成自身的结构中所固有的。人类的想象力，将行动塑造成完美分辨率的最终图像。当我们看到梅林出现在亚瑟面前，或者雅典娜出现在奥德修斯面前，当我们看到老巫师普洛斯彼罗和他美丽的女儿米兰达在岛上等待遇难的旅行者时，或者波尔菲里和索尼娅这对双胞胎人物对世界施加了一种奇怪的、日益增长的影响力。饱受折磨的拉斯科尔尼科夫，给了我们一个令人放心的信号，尽管所有迹象都表明相反，但幕后有一些良性的力量，
The point about these two great archetypal figures is that they are the supreme personal expressions of that mysterious purposive power in stories which not only guides the hero himself towards the goal, but which is inherent in the very structure of the way stories form themselves in the human imagination, shaping the action towards some final image of perfect resolution. When we see Merlin appearing to Arthur, or Athene to Odysseus, when we see the old enchanter Prospero and his beautiful daughter Miranda waiting on the island for the shipwrecked travellers, or the twin figures of Porfiry and Sonia coming to exercise a strange growing influence over the tortured Raskolnikov, we are given a reassuring sign that, despite all indications to the contrary, there is some benign power behind the scenes, operating on a plane of consciousness beyond our comprehension, which is working to draw both hero and story towards some ultimate state of wholeness, when at last all will be made clear and when all the dark elements in the story have been dispelled.
但同样重要的是，这些人物无法控制故事的发展。他们可以了解正在发生的事情，他们可以安排事情、提供指导、指明道路、提供帮助。但最终总是取决于英雄自己表现出使他值得成功的品质。他越能与幕后的神秘力量及其所代表的一切保持一致，他就越有可能实现目标。
But equally the point about these figures is that they cannot control what is going on in the story. They can understand what is happening, they can set things up, give guidance, point the way, proffer assistance. But in the end it is always up to the hero himself to show the qualities which will make him worthy of success. The more closely he can align himself with this mysterious power behind the scenes and everything it stands for, the more likely he is to achieve the goal.
当然，在大多数情况下，这一目标的核心要素是英雄与女英雄的结合，而女英雄本人代表着“永恒的女性”——尽管是以更直接、个人的形式。雅典娜可能有助于引导奥德修斯实现他的目标，代表阿尼玛永恒的女性超自然、非个人、理想的方面：但最终佩内洛普才是奥德修斯的目标，他个人的阿尼玛形象，直接对应于他自己的内在女性化，是他身份的最深处的中心。故事中的“光”女主人公代表阿尼玛从个人意义上来说，就像悬停在动作上方的更崇高、超然的雅典娜式人物代表着伟大的普遍力量，如果英雄想要赢得她，他就必须与这种力量保持一致。像阿里阿德涅、波西娅、利奥诺拉这样“主动”的救赎女主角都是经典的阿尼玛人物，代表着女性直接参与故事情节时所具有的神秘力量。但也可能是看似更加“被动”的女主角，英雄必须赢得或从阴影中拯救出来，而他本人却是“主动”且具有强烈的男性气质。阿尼玛_-人物反映了补充英雄所表现出的特殊品质平衡所需的一切。只要他配得上她，并对她敞开心扉，她就会满足他所需要的一切，让他变得完整。如果他出于某种原因变得虚弱或无能为力，她可能必须足够强大才能为他提供他所缺乏的力量；如果他很坚强，她可能只需要代表互补的软化女性，这是确保他的力量赋予生命所必需的。这就是为什么女主人公作为男主人公的“好天使”，在故事中如此至关重要，也是为什么当男主人公以任何方式错误或拒绝她时，它会如此发人深省。因为最终她以个人和普遍、超个人的方式代表着人类的心灵和灵魂——拉丁阿尼玛意思是“灵魂”——神秘的“另一半”，它既体现了一个人的身份中心，又体现了生命本身的本质。如果英雄蔑视或虐待一个阿尼玛形象，那么他实际上是在拒绝他自己本性的这一方面。
And of course in most instances the central element in that goal is the hero’s union with the heroine, who herself represents the ‘eternal feminine’ – although in a more immediate, personal guise. Athene may help to guide Odysseus to his goal, representing the eternal feminine of the Anima in its supernatural, impersonal, ideal aspect: but in the end it is Penelope who is Odysseus’s goal, his personal anima-figure, corresponding directly to his own inner feminine, the inmost centre of his identity. The ‘light’ heroine in stories represents the anima in this personal sense, just as the more lofty, detached Athene-like figures hovering over the action represent the great universal power with which the hero must align himself if he is to win her. Such ‘active’ redeeming heroines as Ariadne, Portia, Leonora, are classic anima-figures representing the numinous power of the feminine when it is directly involved in the action of the story. But so too may be the seemingly more ‘passive’ heroines whom the hero has to win or redeem from the shadows, when he himself is ‘active’ and strongly masculine. The anima-figure reflects whatever is needed to complement the particular balance of qualities shown by the hero. So long as he is worthy of her and open to her, she stands for whatever he needs to make him whole. If he, for any reason, is rendered weak or powerless, she may have to be strong enough to supply him with the strength he lacks; if he is strong, she may merely need to represent the complementary softening feminine, necessary to ensure that his strength is life-giving. This is why, as the hero’s ‘good angel’, the heroine is of such crucial importance in stories, and why it is so revealing when the hero wrongs or rejects her in any way. Because ultimately she stands in both a personal and a universal, supra-personal way for the heart and soul of man – the Latin anima means ‘soul’ – that mysterious ‘other half’ who enshrines both the centre of a man’s identity and the essence of life itself. If the hero scorns or mistreats an anima-figure it is that aspect of his own nature which he is in effect rejecting.
当女主人公本身就是故事的中心人物时，荣格称为“阿尼姆斯”的人物也会为她扮演同样的补充角色，女主人公需要这个男性人物来使她变得完整。我们在《灰姑娘》、《睡美人》或《白雪公主》等童话故事中，在简·爱的《罗切斯特先生》中，在伊丽莎白·贝内特的《达西先生》和艾玛·伍德豪斯的《奈特利先生》中，在王子身上看到了这样的人物。积极的阿尼姆斯形象是一个英俊、引人注目的男人，毫无疑问是男性气概，但由于他内在的女性特征、他的敏感和同情心以及他洞察女主人公真实内心本质的能力，他变得柔和并更具吸引力。他对应于女人的“精神”（拉丁语animus的意思是“精神”，来自希腊语anemos或“风”）：激发她的灵感并使她的女性气质焕发活力所必需的重要力量：就像睡美人被她的王子赋予生命或“充满活力”一样；正如莎士比亚笔下的“悍妇”的女性气质被高超的彼特鲁乔唤醒一样；艾玛·伍德豪斯 (Emma Woodhouse) 因奈特利先生 (Mr Knightley) 的鼓舞人心的存在而受到鼓舞；德克斯特·海文 (Dexter Haven) 的《上流社会》中的特蕾西·洛德 (Tracy Lord) 的作品；或者是意志坚强的苏查尔顿和鳄鱼邓迪的男子气概但敏感的英雄。
When the heroine is herself the central figure of a story, then the same complementary role is played for her by the figure Jung termed the animus, the masculine figure whom the heroine needs to make her complete. We see such a figure in the Prince in such fairy tales as Cinderella, Sleeping Beauty or Snow White, in Jane Eyre’s Mr Rochester, in Elizabeth Bennett’s Mr Darcy and Emma Woodhouse’s Mr Knightley. The positive animus-figure is a handsome, compelling man, unmistakably masculine, but softened and made still more attractive by his inner feminine characteristics, his sensitive and sympathetic feeling and his ability to perceive the heroine’s true inner nature. He corresponds to the ‘spirit’ in woman (the Latin animus means ‘spirit’, from the Greek anemos or ‘wind’): the vital power which is necessary to inspire her and to bring her femininity to life: as the Sleeping Beauty is brought to life or ‘animated’ by her Prince; as the femininity of Shakespeare’s ‘Shrew’ is awakened by the masterful Petruchio; that of Emma Woodhouse by the inspiring presence of Mr Knightley; that of Tracy Lord by Dexter Haven in High Society; or that of the tough-minded Sue Charlton by the manly but sensitive hero of Crocodile Dundee.
“光明家族”
The ‘light family’
“光明的另一半”是故事讲述中最引人注目的人物，因为她或他是整个故事中男女主人公自觉或不自觉地被吸引的“中心”。就典型的家庭戏剧而言，他们最终的结合是最高目标，标志着所有奋斗和不确定性的顶峰，象征着休息的最后点和难以想象的新生活的开始。
The ‘light other half’ is the most compelling figure in storytelling simply because she or he is the ‘centre’ to whom the hero or the heroine is being drawn, consciously or unconsciously, throughout the story. In terms of the archetypal family drama their eventual union is the supreme goal which marks the culmination of all striving and uncertainty, symbolising both the final point of rest and the beginning of unimaginable new life.
显然，我们观众之所以能够如此轻易地认同这种压倒性的吸引力，是因为无论我们是男人还是女人，它都会引发一种编码到我们无意识中的反应模式：两性之间的引力它植根于我们所知的最强大的本能驱动力之一。但这种吸引力的重要意义在于，它不仅仅是一种身体冲动。当一个男人和一个女人互相吸引的时候这是因为他们在彼此身上唤起了一整套复杂的反应，深入到他们的心灵，并且可以在任何或所有四个层面上发挥作用。确实，他们的吸引力可能只是身体上的。但它也可能是基于共同兴趣和价值观的精神上的“思想一致”。它可能是感性的，发自感情和内心，激发爱。它可能是精神上的，激发我们所谓的“灵魂”的超越维度的感觉。在理想的爱情关系中，所有这些层面的吸引力可能会同时发挥作用。这是因为夫妻双方已经在彼此身上激活了一种原型：一种被编程到我们无意识中的复杂反应结构，它一直处于潜伏状态，直到被特定的外部刺激触发。男人被女人吸引是因为她是他的化身阿尼玛（anima），他心灵的组成部分，代表他自己内在的女性气质。女人被男人吸引是因为他唤起了她心灵中的力量，也就是她的敌意。同样，当我们的这些原型情结被故事激活时，我们就会看到它们在发挥作用。
Obviously the reason why we, the audience, can so easily identify with this overwhelming sense of attraction is that, whether we are a man or a woman, it triggers off a pattern of response coded into our own unconscious: that gravitational pull between the sexes which is rooted in one of the most powerful instinctive drives we know. But what is significant about this attraction is that it is far more than just a physical impulse. When a man and a woman are mutually attracted this may be because they evoke in each other a whole complex of responses, reaching far down into their psyche, and which can operate on any or all of four levels. It is true that their attraction may simply be physical. But it may also be mental, based on shared interests and values, a ‘meeting of minds’. It may be emotional, springing from the feelings and the heart, inspiring love. It may be spiritual, inspiring a sense of that transcendent dimension we call the ‘soul’. In an ideal loving relationship, all these levels of attraction may be at work simultaneously. This is because the couple have activated in each other an archetype: one of those complex structures of response programmed into our unconscious which lie latent until triggered off by a specific external stimulus. A man is attracted to a woman because she personifies his anima, that component of his psyche which represents his own inner feminine. A woman is drawn to a man because he evokes that power in her psyche which is her animus. It is equally the power of these archetypal complexes in us which we see at work when they are activated by a story.
无论阿尼玛和阿尼姆斯的吸引力有多么强大当然，这只是故事形成的两个原型。最明显的是，这些还包括与家庭戏剧中其他核心角色相关的角色：父亲、母亲和另一个自我。我们已经看到了故事讲述中的黑暗人物是如何运作的。例如，我们如何本能地将暴虐、专横的黑暗父亲或奸诈、压迫的黑暗母亲的形象联系起来。但每一个都只代表了其原型的消极方面。每一个都有其光明的一面，使我们预先适应所有那些典型地代表父亲、母亲或另一个自我的角色的品质，并以正确的方式积极地表现出来。这些对应于我们在故事中可能看到的出现在男女主角周围的光人物，
However powerful their appeal, the anima and the animus are of course only two of the archetypes around which stories are shaped. Most obviously these also include those which relate to the other central roles in the family drama: those of Father, Mother and the Alter-Ego. We have already seen how this works in terms of the dark figures in storytelling; how instinctively we relate, for instance, to the image of the tyrannical, overbearing Dark Father or the treacherous, oppressive Dark Mother. But each of these represents only the negative aspect of its archetype. Each also has its light aspect, preconditioning us to all those qualities which archetypally represent the role of Father, Mother or alter-ego being acted out positively, in the right way. And these correspond to the light figures whom we may see appearing round the hero or heroine in a story, assisting or guiding them on the way to their goal:
1.光之父，或善王：这是典型的父亲形象、国王或统治者，我们立即认识到他以理想的方式履行了自己的角色。这意味着他将男性的力量与女性的爱和理解结合起来。因此，他代表了正确且无私地行使男性权力和权威。在许多故事中，这个人物站在主要动作的背景中。当戏剧即将结束时，他可能最明显地来到舞台中央：例如，神秘的“部长”在《费德里奥》的结尾出现，象征着推翻暴君皮萨罗和恢复适当、公正的权威；或者是狮心王理查，英格兰真正的国王，在罗宾汉故事的结尾，他从流放海外的状态中重新出现。在仲夏夜之梦的结尾，我们在王室婚姻中看到他扮演雅典公爵忒修斯，这为森林“低等王国”上演的戏剧的解决奠定了象征性的印记。
1. The Light Father, or Good King: this is the archetypal father-figure, king or ruler whom we immediately recognise as acting out his role in an ideal fashion. What this means is that he combines the strength of the masculine with the love and understanding of the feminine. He thus represents masculine power and authority being exercised properly and selflessly. In many stories this figure stands in the background to the main action. He may most obviously come to the centre of the stage when the drama is reaching its conclusion: e.g., the mysterious ‘Minister’ who enters at the end of Fidelio to symbolise the overthrowing of the Tyrant Pizarro and the restoration of proper, just authority; or Richard the Lionheart, England’s true king, who reappears from his exile abroad at the end of the story of Robin Hood. At the end of A Midsummer Night’s Dream, we see him as Theseus, Duke of Athens, in the royal marriage which sets a symbolic seal on the resolution of the drama which has been unfolding in the ‘inferior realm’ of the forest.
在其他故事中，这样的人物更直接地参与行动，我们很可能会看到他在男女主人公的生活中扮演与黑暗之父所扮演的角色完全相反的角色。当亚瑟王周期的英雄在婴儿时期来到这个世界时，他的亲生父亲乌瑟尔·潘德拉贡去世了，留下他一个孤儿。但与所有那些填补这一空白的故事不同由黑暗父亲形象代表“未实现的价值”，在这里婴儿被赋予了两个版本的光明父亲。首先，亚瑟被梅林偷走了，这位智者老人代表了父亲身份的极端轻松版本，亚瑟有一天必须在自己身上达到平衡成熟的“实现价值”。然后，他将孩子托付给埃克托爵士，埃克托爵士充当“好父亲”，将亚瑟当作自己的儿子抚养长大。但梅林继续守护着英雄，从翅膀上引导他的命运，直到亚瑟成熟为理想的“好国王”。故事进行到一半时，智者就消失了。他的工作已经完成，因为亚瑟现在已经开始发展并融入梅林所象征的那些品质。
In other stories where such a figure becomes more directly involved in the action, we are likely to see him playing a role in the hero or heroine’s life which is the very opposite of that played by the Dark Father. When the hero of the Arthurian cycle comes into the world as a baby, his true father Uther Pendragon dies, leaving him an orphan. But unlike all those stories where such a gap is filled by a Dark Father-figure, representing the ‘unrealised value’, here the baby is given two versions of a Light Father. First, Arthur is spirited away by Merlin, the Wise Old Man who represents the extreme light version of fatherhood, the ‘realised value’ of that balanced maturity which Arthur must one day attain to in himself. He then entrusts the baby to Sir Ector, who acts as ‘good father’ in bringing up Arthur as his own son. But Merlin continues to watch over the hero, guiding his destiny from the wings, until Arthur has achieved his own maturity as an idealised ‘Good King’. At which point, halfway through the story, the Wise Old Man fades away. His work is completed, because Arthur has now begun to develop and integrate into himself those qualities which Merlin symbolised.
同样，在《星球大战》中，欧比旺·克诺比扮演了父亲般的角色，教导英雄卢克·天行者如何使自己与“原力”保持一致。但随后他在与黑暗之父达斯·维德的决斗中死去，而此时这位英雄已经成熟起来，可以为自己进行战斗了。事实上，作为一个成熟的老人，引导着“儿子英雄”朝着目标前进，智慧老人始终代表着理想父亲的品质：就像《指环王》中甘道夫为佛罗多所做的那样；在《战争与和平》中饰演皮埃尔的柏拉图；在《魔笛》中饰演塔米诺的萨拉斯特罗。这是因为他代表了英雄本人必须向往的完全实现的无私男子气概。当然，我们也在所有那些喜剧和其他故事中看到了这种原型，在这些故事的最后，一个自私的黑暗父亲人物有了他的心，他的眼睛睁开了，把他变成了一个光明的父亲。
Similarly in Star Wars Obi-Wan Kenobi plays a fatherly role in teaching the hero Luke Skywalker how to align himself with ‘the force’. But he then dies, in a duel with the Dark Father-figure, Darth Vader, just when the hero has developed the maturity to fight his own battles. In fact, as a mature older man guiding the ‘son-hero’ towards the goal, the Wise Old Man always represents the qualities of an ideal father: as Gandalf does for Frodo in The Lord of The Rings; as Platon for Pierre in War and Peace; as Sarastro for Tamino in The Magic Flute. This is because he represents that fully realised state of selfless manhood to which the hero himself must aspire. We also of course see this archetype represented in all those comedies and other stories where, at the end, a selfish Dark Father-figure has his heart and his eyes opened, transforming him into a Light Father.
2.光明母亲或善良女王：同样，这个原型人物可能或多或少地保留在背景中，作为光明母性的象征，为英雄或女英雄提供了充满爱的安全感的岩石，他们可以离开或返回：如所有这些针对幼儿的故事都展示了中心人物离开母亲进行伟大的冒险，然后在最后回到她身边，例如彼得兔或小红帽。
2. The Light Mother or Good Queen: again this archetypal figure may remain more or less in the background as a symbol of light motherhood, providing the hero or heroine with a rock of loving security which they may both leave and return to: as in all those stories for young children which show the central figure leaving mother for their great adventure and then returning to her at the end, such as Peter Rabbit or Red Riding Hood.
然而，与父亲形象一样，我们可能会看到她在行动中发挥着更积极的指导作用，此时她很可能表现为女性版的“智者老人”，即一位睿智的年长女性。在所有故事讲述中，最熟悉的例子就是我们从世界范围内的民间故事《灰姑娘》中认识到的例子。当女主角的真正母亲去世后，她首先被黑暗母亲，邪恶的继母所取代。但随后神秘的仙女教母（或“好母亲”）出现了。母亲原型分裂成黑暗和光明两个方面，从此灰姑娘的故事就在两者的冲突中书写，直到光明版本引导女主人公走向她的目标。同样，在《简·爱》中当小女主人公失去了真正的母亲后，她陷入了黑暗母亲里德姨妈的阴影之下；但最终在明智而仁慈的孤儿院院长坦普尔小姐身上找到了一位“光明的母亲”。当大卫·科波菲尔真正的母亲去世后，他陷入了黑暗母亲默德斯通小姐的阴影之下。在故事的这个阶段，“母亲”的光明元素以“低等”的形式化身为善良的仆人佩果蒂，她可以给予大卫爱，但缺乏改变他处境的力量。然而，最终，这两个对立面，默德斯通小姐的力量和佩果蒂的爱，在贝西·特洛伍德的“光明母亲”形象中融合在一起，坚定、充满爱心和精明（如果古怪的话）收养大卫的阿姨。正是这一点使他走上了积极的道路，最终使他实现了他的目标。
As with the Father-figure, however, we may see her playing a more active guiding role in the action, when she is likely to appear as the feminine equivalent of the Wise Old Man, as a wise older woman. The most familiar instance of this in all storytelling is that which we recognise from the worldwide folk tale we know as Cinderella. When the heroine’s true mother dies, she is first replaced by the Dark Mother, the wicked stepmother. But then the mysterious Fairy Godmother (or ‘good Mother’) appears. The Mother-archetype has split into its dark and light aspects, and from then on Cinderella’s story is written in the conflict of the two, until the light version has guided the heroine to her goal. Similarly, in Jane Eyre, when the little heroine has lost her true mother she falls under the shadow of the Dark Mother, Aunt Reed; but eventually finds a ‘light Mother’ in the wise and kindly head of the orphanage, Miss Temple. When David Copperfield’s true mother dies, he falls under the shadow of the Dark Mother, Miss Murdstone; and during this phase of the story the light elements of ‘Mother’ are personified in an ‘inferior’ form in the kindly servant Peggotty, who can give David love but lacks the power to transform his situation. Eventually, however, these two opposites, the strength of Miss Murdstone and the love of Peggotty, are brought together in the ‘light Mother’ figure of Betsey Trotwood, the firm, loving and shrewd (if eccentric) aunt who adopts David. It is this that launches him on the positive road which brings him eventually to his goal.
在其他故事中，我们看到一位强大的年长女性，最初以黑暗母亲或女巫的阉割伪装出现在英雄面前，例如喀耳刻或卡吕普索，玛塞利娜或元帅；但最终他转而扮演光之母的角色，她将他从阴影中释放出来，并敦促他走向独立的男子气概。
In other stories we see a powerful older woman who initially appears to the hero in the emasculating guise of Dark Mother or Witch, like Circe or Calypso, Marcellina or the Marschallin; but who eventually switches to the role of Light Mother, as she releases him from her shadow and urges him forward into independent manhood.
3.光明分身或同伴：这些人物的年龄或地位与男女主角大致相似，相当于黑暗对手或黑暗分身的光等价物。当然，在这里，他们不是对手，而是朋友和盟友，帮助男女主角实现目标；而且，正如我们在任务章节中看到的那样，他们与中心人物的关系可能采取多种形式。首先，英雄可能被表现为一群同伴或追随者的领导者，这些同伴或追随者彼此之间没有明显的区别。尽管他们可以为他提供重要的帮助，但他们也可能犯下致命的错误，常常违背他的建议，因此他们可能是可牺牲的，就像奥德修斯失去的十二艘船的同伴一样。
3. Light Alter-Ego or Companion: these are the figures of roughly similar age or status to the hero or heroine who stand as the light equivalents of the Dark Rivals or the Dark Alter-Ego. Here, of course, they are not rivals but friends and allies, who help the hero or heroine on their way towards the goal; and, as we saw in the chapter on the Quest, their relationship to the central figure may take various forms. To begin with the hero may be shown as the leader of a group of companions or followers who are not clearly differentiated from one another. Although they may provide him with vital assistance, they may also commit fatal errors, often against his advice, and as such they may be expendable, like the twelve ship-loads of companions lost by Odysseus.
然而，更明显地站在英雄的另一个自我的位置上的是那些与他更接近的可识别个体，正如我们所看到的，这种关系可能采取三种形式。首先是亲密的朋友或盟友，他们在其他方面并没有什么特别之处——大卫的乔纳森，克里斯蒂安的忠实者，哈姆雷特的霍雷肖——除了他是一个忠实的、值得尊敬的伙伴。其次，存在与英雄不同的另一个自我或盟友，通常表现出补偿英雄本人的品质。这个人物可能在某种程度上被表现为“劣等”于英雄（例如，作为仆人，如星期五），但在其他方面，他很可能具有英雄本身所缺乏的、具有重要帮助的属性：例如，《塞维利亚的理发师》桑乔·潘萨、吉夫斯、费加罗。第三，在某些情况下，英雄有几个同伴，他们组成一个整体。有时，这些可能只是英雄的回声，比如达达尼昂的三个火枪手，或者加拉哈德爵士的两个骑士同伴，珀西瓦尔和博尔斯，他们在圣杯探索的最后阶段陪伴着他。有时，他们会被仔细区分，以便每个同伴都能单独地促进素质的整体平衡，这对于最终的成功是必要的；如《沃特希普镇》或《所罗门王矿井》，在每种情况下，英雄都是保护性领导者，但他周围有一个紧密团结的团队，其中一个代表体力，另一个代表心算和计划技能，第三个代表直觉理解，即看到隐藏的力量现实超出了眼前的情况。
More obviously standing in the position of Alter-Ego to the hero, however, are those recognisable individuals who are much closer to him and here, as we saw, the relationship may take three forms. Firstly there is the close friend or ally who is not otherwise distinguished – David’s Jonathan, Christian’s Faithful, Hamlet’s Horatio – except that he is a faithful, honourable companion. Secondly there is the Alter-Ego or ally who differs from the hero, often by displaying qualities compensatory to those of the hero himself. This figure may be presented as in some way ‘inferior’ to the hero (e.g., as a servant, like Man Friday), but in other ways he may well have attributes which the hero himself lacks and which are of vital assistance: e.g., Sancho Panza, Jeeves, Figaro in The Barber of Seville. Thirdly there are those instances where the hero has several companions who between them make up a whole. Sometimes these may simply be echoes of the hero, like D’Artagnan’s three musketeers, or Sir Galahad’s two fellow-knights, Percival and Bors, who accompany him in the closing stages of the Grail Quest. Sometimes they are carefully differentiated, so that each companion individually contributes to an overall balance of qualities which will be necessary for ultimate success; as in Watership Down or King Solomon’s Mines, where in each case the hero is a protective leader, but has around him a tightly-knit team including one figure who represents physical strength, another who represents mental calculation and planning skills and a third who represents intuitive understanding, the power to see hidden realities beyond the immediate situation.
这些不同形式的盟友的真正意义在于，他们的行动是为了增强英雄自身的力量和品质。他们在故事中的角色是英雄本人的延伸。
The real point of these allies, in all their different forms, is that they act to reinforce the hero’s own powers and qualities. Their role in the story is to act as extensions of the hero himself.
孩子
The Child
因此，故事中的主要人物对应于原型戏剧中的四个核心角色：父亲、母亲、男主角/女主角和“另一半”。有一个其他偶尔出现的轻人物使家庭戏剧变得完整。因为，在本能的层面上，这个过程的最终目的是男主角与女主角联合起来，形成一个新的生命重生的整体中心，然后最终确认生命的链条将延续到未来就是孩子的诞生。在戏剧的这个阶段，主人公本人变成了一位父亲，他对这个被他召唤到世界上的毫无防备的小生命有了全新的爱和保护感情，而这个小生命指挥着一种新的本能反应。正如我们所看到的，在某种类型的故事中，孩子扮演着一个神圣的角色，不仅是新生命的承诺，而且是一个救赎人物，能够唤醒黑暗英雄休眠的内在女性气质。puer aeternus，永恒的孩子。1
Thus do the chief light figures in stories correspond to the four central roles in the archetypal drama: Father, Mother, Hero/Heroine and ‘Other Half’. There is one other light figure who occasionally appears to make the family drama complete. Since, on an instinctive level, the ultimate purpose of this process is that the hero should be united with the heroine to form a new centre of wholeness for the regeneration of life, then the final confirmation that the chain of life is to continue into the future is the birth of a child. At this stage of the drama the hero himself is transformed into a father, with a whole new focus for his love and protective feelings in the little defenceless being he has called into the world and who commands a new complex of instinctual responses. And as we have seen, in a certain type of story, the Child plays a numinous role, not just as the promise of new life but as a redeeming figure, capable of awakening the dormant inner feminine of a dark hero. This is the archetypal figure whom Jung called the puer aeternus, the eternal Child.1
特别是当英雄是一位年长的男人时，孩子可以像阿尼玛人物一样在唤醒他的心灵和灵魂方面发挥同样的救赎作用。干瘪的老守财奴斯克鲁奇被小瘸子蒂姆的动人目光所唤醒，并唤醒了他内心的女性气质。同样，随着金发小女孩埃皮的到来，塞拉斯·马纳也从狭隘的以自我为中心的监狱中解放出来，随着她长大成一名年轻女子，她逐渐从孩子的角色演变为阿尼玛人物。佩迪塔（Perdita）， 《冬天的故事》中的救赎人物经历了类似的转变，反映出随着她的成长，故事中女性价值的影响力稳步增强。圣经中约瑟的故事最能说明孩子如何发挥与阿尼玛形象相同的解放作用，约瑟夫与他的兄弟们最终和解是围绕着他最小的弟弟“小”的救赎象征实现的。本杰明'。
Particularly where the hero is an older man, the Child can play much the same redeeming role in awakening his heart and soul as the anima-figure. The dried-up old miser Scrooge is brought alive and awakened to his inner feminine by the moving vision of the little crippled Tiny Tim. Silas Marner is similarly liberated from his narrow egocentric prison by the arrival of the little golden-haired child Eppie who, as she grows up into a young woman, gradually evolves from the role of Child to anima-figure. Perdita, the figure of redemption in The Winter’s Tale, goes through a similar transformation, reflecting the steadily increasing influence of the feminine value in the story as she grows to maturity. And there is no more striking illustration of the way the Child can play the same liberating role as the anima-figure than the biblical story of Joseph, whose final reconciliation with his brothers is brought about around the redeeming symbol of his youngest brother, ‘little Benjamin’.
在他从赤贫到富有的过程中，约瑟夫已经成为一个非常强大的人物，但缺少一件重要的事情。在他解决与兄弟之间的宿怨之前，他和故事都无法以完整的形象结束。当约瑟夫命令他的兄弟们把他们父亲最小的儿子本杰明带回来时，他被描述为“他晚年的孩子，一个小孩子”，这一目标得以实现。正是在看到弟弟时，他严厉的心中涌起爱意，约瑟夫最终原谅了其他人对他所犯下的巨大错误。他终于暴露了自己的真实身份，他和他悔悟的兄弟们高兴地和解了。但奇怪的是，尽管本杰明经常被描述为“一个小伙子”，强调他的年轻，尽管他几乎总是被认为是作为“小本杰明”，故事的内在证据表明他不可能是这样的人。在约瑟 17 岁离开家之前，他就已经活着了。从那时起，距离兄弟俩第一次抵达埃及，至少又过去了 22 年（约瑟出狱时年仅 30 岁，此后又过了七年的时间）。充足和两个饥荒）。因此，当我们意识到本杰明不可能比二十五岁左右时，我感到有些震惊。然而，出于象征性的目的，儿童原型的无意识吸引力如此之大，以至于故事讲述者再次将他变成了一个“小家伙”，以便以最感人、最令人信服的方式传达约瑟夫之爱的觉醒。
By the end of his rise from rags to riches, Joseph has become an immensely powerful figure, but one important thing is missing. Neither he nor the story can end on an image of wholeness until he has mended his old quarrel with his brothers. This is achieved when Joseph orders his brothers to bring back their father’s youngest son Benjamin, described as ‘a child of his old age, a little one’. It is through the upwelling of love in his stern heart at the sight of his little brother that Joseph finally comes to forgive the others the great wrong they have done him. He reveals himself at last in his true identity, and he and his contrite brothers are joyfully reconciled. But the curious thing is that although Benjamin is constantly described as ‘a lad’ with emphasis on his youth, although he is almost invariably thought of as ‘little Benjamin’, the internal evidence of the story shows that he cannot be anything of the sort. He was already alive before Joseph left home at the age of 17. Since then at least 22 more years must have elapsed before the brothers first arrived in Egypt (Joseph was 30 when he was released from prison, and subsequently there had been seven years of plenty and two of famine). It is something of a shock to realise therefore that Benjamin cannot be younger than his mid-twenties. Yet such is the unconscious pull of the Child-archetype that the storyteller turns him once again, for symbolic purposes, into a ‘little one’, in order to convey the awakening of Joseph’s love in the most moving and convincing manner.
在考虑人类情感的原型基础时，我们熟悉“妇女和儿童优先”这句话并非没有道理。
In considering the archetypal basis for human emotions, it is not for nothing that we are familiar with the phrase ‘women and children first’.
自己'
The ‘Self’
我们越是从这个角度看待故事，我们就越清楚地看到它们描绘一场伟大的根本斗争的一致性。一方面，存在着导致瓦解、混乱、黑暗和最终死亡的力量。这些都是以自我为中心的。另一方面，所有这些力量都在促使中心人物和故事走向完整和光明，直到他或她最终能够实现自己完整的身份。这些的共同点是，它们不是以自我为中心，而是以人类个性中更深层的东西为中心，某种与一切相关的东西，某种普遍的东西。这种完整的终极状态以及实现它的力量构成了荣格和其他人所说的“自我”的整体原型。2
The more we look at stories in this light, the more clearly we see the consistency with which they portray one great fundamental struggle. On one hand there are the forces making for disintegration, confusion, darkness and ultimately death. These are all centred on the ego. On the other are all those forces which are urging both central figure and story towards wholeness and light, to the point where he or she can at last realise their complete identity. What these have in common is that they are centred not on the ego but on something much deeper in the human personality, something all-connecting, something universal. This ultimate state of wholeness and the forces which work to bring it about comprise the archetype of totality which Jung and others have called the Self.2
在任何有圆满结局的故事的最后阶段，都可以看到自我所代表的最明显的愿景。它是我们在这样的结局中看到的一切的代名词。在这一点上，一切都以完美的平衡结合在一起：力量、秩序、感觉、意识。这是完美的统一点，没有任何分裂或自私的痕迹。这是完美的光点，没有阴影。
The most obvious vision of what the Self stands for can be seen in the closing stages of any story which comes to a complete happy ending. It is synonymous with everything we see represented in such an ending. It is the point where everything comes together in perfect balance: power, order, feeling, awareness. It is the point of perfect unity, with no trace of division or egotism. It is the point of perfect light, with no shadow.
更具体地说，当这样一个整体的形象聚集在一起时，自我可能由或多或少同时发生的四件事来代表：
More specifically, as such an image of totality comes together, the Self may be represented by four things which happen more or less simultaneously:
(1)故事的中心人物最终达到了完全的个人自我实现的状态；
(1) the story’s central figure at last reaches a state of complete individual self-realisation;
（2）男女主人公完美结合，相得益彰；
(2) the hero and heroine come together in perfect union, each making the other whole;
（3）典型的家庭戏剧达到了高潮，因此我们看到男女主角在所有四个中心角色之间暂时处于平衡状态。作为他们成为完全实现的儿子/英雄和女儿/女英雄，因此他们同时准备好作为完美平衡的父亲和母亲取得成功；
(3) the archetypal family drama comes to its culmination, so that we see hero and heroine momentarily in equipoise between all four central roles. As they become the fully-realised Son/Hero and Daughter/Heroine, so they are simultaneously ready to succeed as perfectly balanced Father and Mother;
（4）更广泛的共同体或王国在适当的主权下得到救赎，与自身、世界和生命的力量合一。
(4) the wider community or kingdom is redeemed, under proper sovereignty, at one with itself, with the world and with the power of life.
但我们不仅在这个完整和圆满的结尾图像中看到故事中所代表的自我的力量。在早期阶段，我们在一切努力吸引英雄、女英雄、社区以及故事本身走向最终解决点的事情中看到了这一点。
But it is not only in this closing image of totality and fulfilment that we see the power of the Self represented in a story. At earlier stages we see it in everything that is working to draw hero, heroine, community – and the story itself – towards this final point of resolution.
自我的神秘性可以通过许多不同的方式象征性地唤起，作为中心人物正在走向的遥远的生命更新目标。例如，我们可能会看到它被象征为宝藏、珠宝或其他一些神秘的无价物品（例如，“金羊毛”、“圣杯”、《玫瑰骑士》中的银玫瑰）。它可能会被描绘成一座遥远的闪亮城市，就像年轻的迪克·惠廷顿被告知遥远的伦敦一样，“那里的街道铺满了黄金”；或基督徒被告知“天城”；或者， 《无名的裘德》中的英雄看到了“基督大教堂”的遥远景象，这是他永远无法达到的自我。它可以被象征为一座伟大的山，其根源在大地，其顶峰在天空，就像在开头的诗节中那样。《神曲》或《阿拉丁》中，英雄在这样一座山的阴影下，首先下山去取神灯；本身就是自我的象征。
The numinosity of the Self may be symbolically evoked in many different ways as the distant life-renewing goal the central figure is heading for. We may see it symbolised for instance, as a treasure, a jewel or some other mysterious priceless object (e.g., the ‘Golden Fleece’, the ‘Holy Grail’, the silver rose in Der Rosenkavalier). It may be presented as a far-off shining city, as when the young Dick Whittington is told about faraway London, ‘where the streets are paved with gold’; or Christian is told of the ‘Celestial City’; or the hero of Jude the Obscure sees the distant vision of ‘Christminster’, the Self he will never attain. It may be symbolised as a great mountain, with its roots in the earth and its peak in the heavens, as in the opening stanzas of The Divine Comedy or in Aladdin where, in the shadow of such a mountain, the hero first goes down into the cave to fetch the lamp; itself a symbol of the Self.
更个人地说，自我的力量可以在故事过程中出现在男女主人公周围的所有光亮人物身上看到，激励或帮助他们实现目标。这些光影中的每一个都代表了自我的不同方面，神秘的力量正在吸引中心人物和故事走向完全实现的地步。而且，正如我们所看到的，故事中的所有主要角色——无论是光明的还是黑暗的——都代表了家庭剧中四个核心角色的不同方面。这些角色中的每一个都可以分为以自我为中心的黑暗方面，从而产生黑暗人物，即英雄或女英雄必须克服或超越的消极版本；及其光明的方面，代表着生命和完整性的力量。
More personally, the power of the Self may be seen in all the light figures who appear round the hero or heroine during the course of the story, inspiring or assisting them on to their goal. Each of these light figures represents a different aspect of the Self, the mysterious power which is drawing the central figure and the story towards the point where it can become fully realised. And, as we have seen, all the main characters in stories – both light and dark – represent different aspects of the four central roles in the family drama. Each of these roles can be split into its ego-centred dark aspects, which give rise to the dark figures, that negative version which the hero or heroine must overcome or transcend; and its light aspects, standing for the powers of life and wholeness.
事实上，我们现在可以列出所有原型人物的演员名单，这些人物为故事讲述中的主要角色提供了关键：
In fact we can now draw up a cast list of all those archetypal figures who provide the key to the main characters in storytelling:
消极/以自我为中心 Negative/centred on the ego |
积极/以自我为中心 Positive/centred on the Self |
黑暗之父/暴君/黑暗魔法师 Dark Father/Tyrant/Dark Magician |
光明之父/善良的国王/智慧的老人 Light Father/Good King/Wise Old Man |
黑暗母亲/黑暗女王/女巫 Dark Mother/Dark Queen/Witch |
光明母亲/善良王后/聪明老太婆 Light Mother/Good Queen/Wise Old Woman |
黑暗对手/黑暗另一个自我 Dark Rival/Dark Alter-Ego |
光的另一个自我/朋友和伴侣 Light Alter-Ego/Friend and Companion |
黑暗的另一半/妖妇 Dark Other Half/Temptress |
光的另一半（光阿尼玛/阿尼姆斯） Light Other Half (light anima/animus) |
孩子 Child |
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在原型戏剧的反面版本中，黑暗胜利的最高形象是“光明女性”的形象，阿尼玛，被囚禁在“黑暗男性”，暴君或黑暗父亲的阴影下，代表着黑暗的力量。人类的自我。我们现在可以明白为什么相反的图像了极点是智者老人和阿尼玛的极点；因为它们代表了完全实现的男性气质和女性气质的状态，超越了自我，完美地赋予了生命。
In the negative version of the archetypal drama, the supreme image of darkness triumphant is the image of the ‘light feminine’, the anima, held prisoner in the shadow of the ‘dark masculine’, the Tyrant or Dark Father, representing the power of the human ego. We can now see why the image which stands at the opposite pole is that of the Wise Old Man and the Anima; because they represent the state of fully-realised masculinity and femininity, transcending the ego in perfect life-giving conjunction.
“乐于助人的动物”
The ‘helpful animal’
为了完成故事中原型人物的列表，必须添加另外两个更专业的人物：每个人物还强调了支配故事运作方式的重要一般原则。
To complete the list of archetypal figures in stories, two other, more specialised figures must be added: each of which serves also to underline an important general principle governing the way stories work.
世界民间故事中较为熟悉的人物之一是“乐于助人的动物”。我们遇到了一位小英雄，他在世界上非常孤独，很可能已经陷入黑暗父亲、黑暗母亲或黑暗对手的阴影之下。就在他看起来最孤独的时候，他遇到了一个或多个具有奇怪力量的神秘生物，这些生物成为了他的朋友或盟友。迪克·惠廷顿和《穿靴子的猫》的英雄遇见他们的猫，阿拉丁遇见精灵，等等。英雄常常会对这种生物表现出一些重大的善意行为。在无数的民间故事中，英雄将自己的一份食物送给了森林里的青蛙、狐狸、鸟、神秘的小矮人，而其他人，例如英雄的两个兄弟，显然没有表现出如此慷慨。 。这个举动意义重大，因为它表明英雄有一颗善良的心，有一种无私的感觉。从那时起，这个生物就成为了一个强大的盟友，并最终证明是英雄得救的关键。
One of the more familiar figures in the folk tales of the world is the ‘helpful animal’. We meet a little hero who is very much alone in the world, and may well have fallen under the shadow of a Dark Father, Dark Mother or Dark Rivals. Just when he seems most alone he runs into a mysterious creature or creatures with strange powers who become his friend or ally. Dick Whittington and the hero of Puss in Boots meet their cats, Aladdin meets the genies, and so forth. Often the hero shows some significant act of kindness to this creature. There are innumerable folk tales where the hero gives a share of his food to a frog, a fox, a bird, a mysterious little man in the forest, usually when others, such as the hero’s two brothers, have conspicuously failed to show such generosity. This action is significant because it shows that the hero has a good heart, a capacity for selfless feeling. From then on this creature becomes a powerful ally and proves in the end to be the key to the hero’s salvation.
这些人物的要点在于，它们只在英雄年轻且尚未发育成熟时出现，在他真正了解世界之前。但他在慷慨的行为中展示了他最终实现完整的潜力的重要先决条件，这表明他内心并没有被自我中心所囚禁。只要满足这个条件，表明他与生命有联系，“乐于助人的动物”的角色就象征着他心灵中所有那些神秘的本能力量，这将有助于他走向成熟。在很长一段时间里，只要他的心在正确的地方，他就能依靠这些超越他意识理解的无意识力量，带着他向上。但他越接近目标，他就越需要有意识地掌握自己正在做的事情。阿拉丁的故事如此深刻的一个重要原因是它如此明确地强调了这一点，即精灵最终如何给他留下深刻的印象，他不能再仅仅依靠他们来做一切事情，而他必须开始有意识地依赖他们。他自己。用男性术语来说，与自我完全结合意味着发展完全的自力更生、自我掌控和自我理解。只有表现出自主或自我控制的英雄才能实现这一点；谁最终能清楚地看到他必须做什么。与自我完全结合意味着发展完全的自力更生、自我控制和自我理解。只有表现出自主或自我控制的英雄才能实现这一点；谁最终能清楚地看到他必须做什么。与自我完全结合意味着发展完全的自力更生、自我控制和自我理解。只有表现出自主或自我控制的英雄才能实现这一点；谁最终能清楚地看到他必须做什么。
The point about these figures is that they only appear when the hero is young and undeveloped, before he has won real understanding of the world. But he has shown the vital prerequisite of his potential for eventual wholeness in the act of generosity which shows that he is not inwardly imprisoned in egocentricity. So long as that condition is met, showing that he is connected with life, the role of the ‘helpful animal’ is to symbolise all those mysterious instinctive powers in his psyche which will help to carry him to maturity. For a long time, provided that his heart is in the right place, he will be able to rely on these unconscious powers, beyond his conscious understanding, to carry him upwards. But the nearer he gets to his goal, the more he will have to show a conscious grasp of what he is doing. Not the least reason why the story of Aladdin is so profound is that it emphasises this point so explicitly, in how the genies eventually impress on him that he can no longer just rely on them to do everything and that he must begin to rely consciously on himself. In masculine terms, to reach complete union with the Self means developing complete self-reliance, self-mastery and self-understanding. It can only be achieved by the hero who has shown himself to be autonomous or self-controlled; who in the end can see exactly what he has to do.
在以英雄为中心人物的故事中，“乐于助人的动物”代表着他尚未完全融入自己的力量。虽然这些力量可能是为了英雄的利益，作为自我的各个方面，但只要它们仍然半独立地运作，或者以超出英雄意识理解的方式运作，它们就会以“低等”的形式出现，作为力量与他分离并在他之外。事实上，它绝不仅仅以民间“助人为乐的动物”的形式出现。我们在讲故事中看到了这一原则的作用。一次又一次，我们以不同的方式，在英雄的某些盟友或同伴身上认识到某种品质的“低等”版本，英雄最终必须发展并融入自己——此时，“低等”人物常常会从英雄中消失。故事。最著名的例子之一是《李尔王》中愚人扮演的角色：聪明的白痴比任何人都更清楚地看到正在发生的事情的真相。但在故事中，李尔本人开始理解并清楚地看到愚者消失的那一刻，因为他是李尔本人现在正在成为的“智者”的“低等”版本。
In stories where the central figure is a hero, the ‘helpful animal’ thus stands for powers which he has not yet fully integrated into himself. Although these powers may be working for the hero’s good, as aspects of the Self, so long as they are still operating semi-independently, or in a way which is beyond his conscious understanding, they appear in an ‘inferior’ form, as forces split-off from and outside him. Indeed it is by no means only in the form of the ‘helpful animal’ in folk tales that we see this principle at work in storytelling. Again and again, in different ways, we recognise in some ally or companion of the hero an ‘inferior’ version of some quality which the hero will eventually have to develop and integrate into himself - at which point the ‘inferior’ figure often vanishes from the story. One of the most celebrated instances of this is the role played by the Fool in King Lear: the wise idiot who sees the truth of what is happening more clearly than anyone else. But at the moment in the story where Lear himself begins to understand and to see clearly the Fool disappears, because he was the ‘inferior’ version of the Wise Old Man that Lear himself is now becoming.
同样的主题也可能出现在以女主角为中心人物的故事中，例如在白雪公主的青春期中扮演重要角色的七个小矮人。当这些充满阳刚之气的小人物整天神秘地从山里挖金子时（象征着那些赋予生命的本能力量的积累，这些本能无意识地将她带向成熟），在更有意识的层面上，她通过以下方式发展了她充满爱心的、母性的女性气质：照顾他们的家庭。但最终危机来临，矮人再也无法帮助她了。她被冻结在山顶，必须等待她成熟的男性“另一半”以慈爱的王子的形式出现来解放她。在其他民间故事中，如《美女与野兽》、《青蛙王子》或在《白雪公主》和《红玫瑰》中，我们再次看到男性以一种“低等”的形式出现在女主人公的生活中，只不过在这里她的最初反应是恐惧或厌恶。只有当女主人公能够向这个可怕的生物表达爱意时，这才是野兽、青蛙或熊变成英俊王子的关键。这种最初的威胁性存在是她的敌意，它在她的心灵内外支配着她与男性的关系。只有当女主人公充分发展了她的女性气质时，我们才能看到代表她内在男性气质的人物从他最初的消极、低劣的伪装中脱颖而出，进入他正确的光明身份。
The same motif may appear in tales where the central figure is a heroine, as in the seven dwarves who play such an important part in the adolescence of Snow White. As these little masculine figures spend their days mysteriously digging gold out of the mountains (symbolising the build-up of those life-giving instinctive powers which are unconsciously carrying her towards maturity), on a more conscious level she develops her loving, maternal femininity by looking after their household. But eventually there comes the crisis where the dwarves can help her no more. Frozen on her mountaintop, she has to wait for the emergence of her fully-developed masculine ‘other half’, in the shape of a loving Prince, to liberate her. In other folk tales such as Beauty and the Beast, The Frog Prince or Snow White and Rose Red, we again see the masculine appearing in the heroine’s life in an ‘inferior’ form, except that here her initial reaction is one of fear or revulsion. Only when the heroine reaches the point where she can show love to this alarming creature does this prove to be the key to the Beast, frog or bear turning into a handsome Prince. This initially threatening presence is her animus, that which governs her relationship to the masculine both within her psyche and outside it. Only when the heroine has fully developed her femininity do we see the figure representing her inner masculinity emerging from his original negative, inferior disguise into his proper light identity.
从更广泛的意义上讲，“乐于助人的动物”这一主题有助于强调讲故事最重要的一般原则之一，即在很长一段时间内，故事中最终被证明是救赎关键的元素可能会出现在故事中。某种低劣的、模糊的或扭曲的形式。只有当男女主人公准备好实现完整时，这些低劣的元素才能消失：要么因为它们已经被整合，要么因为它们以积极的、充分发展的面貌出现在光明中，以带来胜利的解决。
In a wider sense this motif of the ‘helpful animal’ helps to underline one of the most important general principles of storytelling, which is that for a long time in a story the elements which will eventually prove to be the key to salvation may appear in some inferior, obscured or distorted form. Only when the hero or heroine are ready to achieve wholeness can these inferior elements disappear: either because they have been integrated, or because they have emerged into the light in positive, fully-developed guise to bring about the triumphant resolution.
骗子
The Trickster
必须添加最后一个原型人物才能完成该列表。在某些方面，正如我们所看到的，故事中最黑暗的人物是诱惑者——梅菲斯特或伊阿古——他以最“低等”的形式出现，是英雄黑暗自我或幻想自我的化身。诱惑者在各方面都是“低等的”，他以“黑暗女性”的奸诈方式无情地使用自己的力量，假装为英雄的最高利益行事，而实际上却试图摧毁他。诱惑者的真正目的始终是蒙蔽英雄，在他不知情的情况下限制他的意识。
A last archetypal figure must be added to complete the list. In some ways, as we saw, the darkest figure of all in stories is the Tempter – Mephistopheles or Iago – who appears as a personification of the hero’s dark ego-self or fantasy-self in its most ‘inferior’ form of all. The Tempter is ‘inferior’ in every respect, ruthlessly using his power in the treacherous manner of the ‘dark feminine’ by pretending to act in the hero’s highest interests while in fact seeking to destroy him. The real purpose of the Tempter is always to blind the hero, to restrict his consciousness without him being aware of it.
然而，我们偶尔也会看到这个人物的轻型版本，即骗子，他是自我的一个方面。就像诱惑者一样，他的目标是欺骗人们进入不同的意识状态：但这一次相反，扩大和提高他们的视野，让他们与自我接触。尽管骗子在某些民间传说中广泛存在，但我们最熟悉的两个例子是莎士比亚。《仲夏夜之梦》中帕克的目的是用他的魔法来欺骗恋人，让他们摆脱最初的混乱和有限的意识状态，进入更广阔的意识，使他们都能认识到自己真正的“另一半”，从而使故事得到圆满的结局。《暴风雨》中也有类似的情况正如我们将在下一章中看到的，爱丽儿的角色，作为智者普洛斯彼罗的“狡猾的灵魂”，是用他的魔法来欺骗剧中两个主要的黑暗人物进入更高的意识状态，可以让他们找回“本来的自己”。
However, we also occasionally see a light version of this figure, the Trickster, who is an aspect of the Self. Like the Tempter, his aim is to trick people into a different state of consciousness: but this time the other way round, to broaden and heighten their vision, to bring them into contact with the Self. Although the Trickster is widely found in certain traditions of folklore, two of the most familiar instances to us are seen in Shakespeare. The purpose of Puck in A Midsummer Night’s Dream is to use his magic to trick the lovers out of the original confused and limited state of consciousness in which they begin and into that wider consciousness which enables them all to recognise their true ‘other half’, thus bringing the story to a triumphantly happy resolution. Similarly in The Tempest, as we shall see in the next chapter, the role of Ariel, as the ‘tricksy spirit’ of the Wise Old Man Prospero, is to use his magic to trick the two main dark figures of the play into the higher state of consciousness which can bring them back to their ‘proper selves’.
与“乐于助人的动物”一样，骗子只是更普遍的讲故事原则的一种表达，我们已经在本书中多次看到了这一原则：即任何角色从黑暗到光明的转变中所扮演的重要角色。意识从自我到自我的根本转变。骗子是心灵力量的化身，通过将角色从一个意识层面摇到另一个意识层面来实现这种转变。从这个意义上说，拜访斯克鲁奇的三个“圣诞精灵”就像来自他无意识的使者，把他拖入一个全新的世界观，是骗子原型在起作用的例子。巴顿·莫尔德这个神秘人物也是如此，他在迫使皮尔·金特走出自我意识的监狱、看到自己和整个世界方面发挥了至关重要的作用。弗兰克·卡普拉的守护天使也是如此这是一个美好的生活，他用他的魔法逗弄自杀的英雄，让他认识到他在世界上做了多少好事：从而使他重生，在圣诞树下与他的家人和所有善良的人快乐地团聚。小镇。
As with the ‘helpful animal’, the Trickster is only one expression of a much more general principle of storytelling, which we have already seen again and again in this book: namely the vital part played in any character’s switch from dark to light by that fundamental shift in consciousness from ego to Self. The Trickster is a personification of the power in the psyche which brings about that shift, by shaking the character out of one level of consciousness onto the other. In this sense, the three ‘Christmas spirits’ who visit Scrooge, like messengers from his unconscious, dragging him round into an entirely new perspective on the world, are examples of the Trickster archetype at work. So is the mysterious figure of the Button Moulder who plays such a crucial part in forcing Peer Gynt out of the prison of ego-consciousness into seeing himself and the world whole. So is the guardian angel in Frank Capra’s It’s a Wonderful Life, who uses his magic to tease the suicidal hero into recognising just how much good he has done in the world: thus bringing him to the rebirth which joyfully reunites him under the Christmas tree with his family and all the good people of the town.
事实上，好莱坞没有什么比《雨中曲》中的骗子形象更令人难忘的了。由英雄的朋友科斯莫·布朗（唐纳德·奥康纳饰）创作。他是关键举措的幕后策划者，最终使女主人公凯西从阴影中走出来，与男主人公联合起来，成为一名明星。正是科斯莫突然灵光一现，工作室应该使用凯西的声音而不是莉娜·拉蒙特的声音。正是他，就像后来的帕克或爱丽儿一样，在最后玩了一个魔术，揭露了莉娜的骗子：首先把凯西放在幕布后面，在拥挤的观众面前为莉娜的歌声配音，然后把它拉开，才能发现她才是真正的明星。然而，科斯莫本身并不是这个故事的中心人物。他只是作为英雄的另一个自我，建立一个转变的过程，确保爱情的胜利，并赋予故事特殊的，
In fact Hollywood has produced few more memorable examples of a Tricksterfigure than that played in Singin’ in the Rain by the hero’s friend Cosmo Brown (Donald O’Connor). It is he who is the mastermind behind the key moves which lead eventually to the heroine Kathy being lifted out of the shadows and united with the hero, as a star in her own right. It is Cosmo who has the flash of inspiration that the studio should use Kathy’s voice instead of Lina Lamont’s. It is he who, like some latter-day Puck or Ariel, plays the magical trick at the end which exposes Lina for the fraud she is: by first placing Kathy behind the curtain to dub Lina’s singing voice in front of a packed audience, then pulling it away to reveal her as the real star. Yet Cosmo is not a central figure in the story in his own right. He is there only as a kind of alter-ego to the hero, to set up that process of transformation which ensures that love is triumphant and gives the story its special, enduring appeal.
我们现在已经完成了对使故事达到圆满结局的原则的介绍。总而言之，在下一章中，我们将讨论一组新示例：五个众所周知的故事，它们说明了所有这些原则如何在实践中发挥作用。
We have now completed this introduction to the principles which are involved in bringing a story to a complete happy ending. In the next chapter, to sum up, we look at a set of new examples: five well-known stories which illustrate how all these principles work in practice.
第19章
达到目标
Chapter 19
Reaching the Goal
“当完美的事物到来时，那部分的事物就会被消除……现在我们透过一面黑暗的玻璃看到；但随后，面对面。
‘When that which is perfect is come, then that which is in part shall be done away... for now we see through a glass, darkly; but then, face to face.’
哥林多前书， 13
I Corinthians, 13
我们通过五个著名的故事来结束对引导故事走向完全幸福结局所必需的原则的调查，这些故事说明了本书第二部分所讲述的一切。我们之前没有详细研究过这些故事，因为没有一个故事完全是由我们在本书第一部分中看到的一个基本情节所塑造的。但它们之间展示了对塑造故事的基本原则的理解如何将我们带入更深的层次——引导行动的情节形式的特殊意义融入了故事讲述的核心的中心戏剧的本质。 。
We end this survey of the principles necessary to guide a story to a completely happy ending by looking at five well-known stories which illustrate everything this second part of the book has been about. We have not examined any of these stories in detail before, because none is shaped exclusively by just one of the basic plots we looked at in the first part of the book. But between them they show how an understanding of the underlying principles which shape stories takes us onto a deeper level altogether – where the particular significance of the plot-form guiding the action dissolves into the essence of that central drama which lies at the heart of storytelling.
从表面上看，这五个故事似乎截然不同：斯拉夫民间故事《伊凡王子和火鸟》；中世纪英国传奇人物罗宾汉；现代伪史诗冒险故事，托尔金的《指环王》；莎士比亚最后一部也是最神秘的戏剧《暴风雨》；以及莫扎特的最后一部喜歌剧《魔笛》。但根据最近几章的主题，我们现在可以看到每个故事是如何围绕相同的基本戏剧而形成的。每幅作品都展示了一个王国或一个世界，陷入了病态或混乱的黑暗力量的阴影之下。每一个故事都展现了一个尚未实现的英雄，在经过漫长而痛苦的斗争后，逐渐走出阴影，最终推翻黑暗势力，走向光明。当他这样做时，他就救赎了王国。因此，所有这些故事都以宇宙的幸福结局告终，这个结局展现了一个分裂的、在阴影中的世界在一个已经达到完全成熟的终极“中心”的英雄周围变得完整。
On the face of it, these five stories could scarcely seem more disparate: a Slav folk-tale, Prince Ivan and the Firebird; a mediaeval English legend, Robin Hood; a modern pseudo-epic adventure story, Tolkien’s The Lord of the Rings; Shakespeare’s last and most mysterious play, The Tempest; and Mozart’s last comic opera, The Magic Flute. But in the light of our theme in recent chapters, we can now see how each of these tales is shaped around the same essential drama. Each shows a kingdom or a world, having fallen under the shadow of the dark power, which is sick or in disarray. Each then shows an as-yet unfulfilled hero gradually moving through the shadows towards the point where, after a long and painful struggle, he can finally overthrow the dark power and step out into the light. As he does so, he redeems the kingdom. All these stories therefore culminate in that cosmic happy ending which shows a world divided and in shadow being brought to wholeness, round a hero who has reached the ultimate ‘centre’ of complete maturity.
当我们浏览这一系列故事时，唯一变化的是这部中心戏剧的呈现方式的重点。在《火鸟》中，重点是英雄为实现自我而孤独的斗争。在罗宾汉的传说中，重点更加普遍，即王国的救赎。在《指环王》中，它既体现在英雄漫长而痛苦的旅程上，也体现在他最终成功完成任务的宇宙含义上（除了，正如我们将看到的，为了充分展示这一点，某些东西随着故事的发展，“英雄”身上发生了非常重要的事情）。在《暴风雨》中，我们看到了英雄，他拯救了王国，终于成为一个彻头彻尾的智者老人了。最后，在《魔笛》中，我们看到了一个故事，它总结了本书这一部分所讲述的一切：一个情节，通过令人眼花缭乱的原创构造技巧，成功地展现了典型家庭戏剧的内部运作方式。独创性使其在讲故事方面独一无二。
The only thing which varies as we move through this sequence of stories is the emphasis in the way this central drama is presented. In The Firebird the focus is on the hero’s lonely struggle towards self-realisation. In the legend of Robin Hood the emphasis is more general, on the redeeming of the kingdom. In The Lord of the Rings it is on both: on the hero’s long and painful journey, but also on the cosmic implications of his eventual success in completing his task (except that, as we shall see, in order to show this fully, something very significant happens to the ‘hero’ as the story develops). In The Tempest we see the hero, as he redeems the kingdom, at last becoming a complete Wise Old Man. Finally, in The Magic Flute, we see a story which sums up everything which this part of the book has been about: a plot which, by a dazzlingly original trick of construction, manages to set out the inner workings of the archetypal family drama with an ingenuity which makes it unique in storytelling.
火鸟
The Firebird
不可能将伊凡王子和火鸟的民间故事归入我们最初的七个基本情节中的任何一个，因为它结合了所有这些情节的元素。1但最终的整体故事完美地体现了过去几章中出现的讲故事的核心主题。它讲述了一位年轻的英雄如何成熟，直到他准备好继承父亲的位置。
It would be impossible to categorise the folk tale of Prince Ivan and the Firebird under any one of our original seven basic plots because it combines elements of all of them.1 But the overall story which results perfectly exemplifies that central underlying theme to storytelling which has been emerging in the past few chapters. It tells of how a young hero matures until he is ready to succeed his father.
某个国王有一个非常美丽的花园。它的中心有一棵非常稀有的树，每天都会结出一个果实，一个完美的金苹果。但每天晚上，苹果都会神秘地消失，有一天，国王打电话给他的三个儿子，告诉他们，谁能抓住小偷，谁就将获得一半的王国。两个大儿子轮流观看，但都睡着了，第二天早上当被要求解释苹果消失的原因时，他说苹果自己消失了。第三个也是最小的儿子伊万是唯一保持清醒的人。半夜，他看见一只金鸟飞下来偷苹果。他试图抓住它，但它飞走了，只留下一根金色的羽毛在他手里——事实证明，这根羽毛发出的光芒如此之大，照亮了整个国王的宫殿。国王得到这件宝物非常高兴，他的朝臣告诉他，这一定来自传说中的火鸟。但那只鸟再也没有回来，国王开始渴望亲眼目睹它，以至于他悲痛欲绝。他再次把儿子们叫到身边，并说，谁能找到火鸟并将其带给他，就将获得一半王国的奖励。
A certain king had a very beautiful garden. At its centre was a very rare tree, which every day bore a single fruit, a perfect golden apple. But every night the apple mysteriously vanished and one day the king called his three sons and told them that whichever could catch the thief would be given half the kingdom. The two older sons each watched in turn, but each fell asleep and when asked to explain the disappearance of the apple the following morning said that it had disappeared by itself. The third and youngest son, Ivan, was the only one who remained awake. At midnight he saw a golden bird fly down to steal the apple. He tried to seize it but it flew off, leaving just one golden feather in his hand – which proved to glow with such a light that it illumined the whole of the king’s palace. The king was overjoyed with this treasure, which his courtiers told him must have come from the legendary Firebird. But the bird never returned and the king began so to long for a sight of it himself that he fell sick with grief. He called his sons to him again and said that whichever of them could find and bring him the Firebird would be rewarded with half the kingdom.
故事向我们呈现的最初情境因此建立了一种极性。一方面，年迈的国王/父亲正在失去权力，他的王国已经陷入阴影。另一面是神秘、难以捉摸的火鸟，它象征着只有它才能使其再次恢复完整的东西：自我。实现这一目标是现在交给年轻一代的任务。
The initial situation the story presents us with thus sets up a polarity. On one hand there is the ageing King/Father who is losing his powers and whose kingdom has passed into shadow. On the other is the mysterious, elusive Firebird as a symbol of that which alone can restore it to wholeness again: the Self. To realise it is the task which now passes to the younger generation.
三个男孩踏上这个世界，走了三条不同的路，而在他们分开后不久，每个人都面临着同样的考验。一只小泼妇从森林里出现，向每位王子索要一份食物——这是许多民间故事中常见的主题。两个大儿子用弓箭射狐狸，狐狸就消失了。伊万自愿交出一半的食物，泼妇说她会帮助他找到火鸟来奖励他。
The three boys set out into the world, taking three different paths, and shortly after they have separated each is confronted by the same test. A little vixen emerges from the forest and – in a motif found in many folk tales – asks each of the princes for a share of his food. The two older sons shoot at the fox with their bows and it vanishes. Ivan willingly hands over half his food, and the vixen says she will reward him by helping him find the Firebird.
现在，通过三法则的双重否定形式，我们了解到关于伊万（与他的哥哥们相比）的两个重要的事情。首先，他睁大眼睛：他是有意识的。当他在花园里观看时，他没有睡着。其次，与他的兄弟不同，他心地善良。他没有被利己主义蒙蔽了双眼。换句话说，他对“女性”价值观持开放态度。结果是，他赢得了一个神秘的盟友，一个女性化的“乐于助人的动物”，就像迪克·惠廷顿的猫或阿拉丁的精灵一样，将对他的故事的展开至关重要。
We have now, by the double-negative form of the Rule of Three, learned two important things about Ivan, in contrast to his older brothers. Firstly he keeps his eyes open: he is aware. When watching in the garden he did not fall asleep. Secondly, unlike his brothers, he is goodhearted. He is not blinded by egotism. In other words, he is open to the ‘feminine’ value. The result is that he wins a mysterious ally, a feminine ‘helpful animal’ who, like Dick Whittington’s cat or Aladdin’s genies, is going to prove crucial to the unfolding of his story.
泼妇带领伊万来到一座神秘的偏远青铜城堡，火鸟住在一个有两个笼子的房间里，一个是金色的，另一个是木头的。狐狸告诉伊万，他必须独自进入城堡，并且无论他做什么，他都必须将火鸟放入木笼中，而不是金笼中。当然，每当故事中出现这样的禁令时（比如彼得兔被告知不要进入麦格雷戈先生的花园，或者蓝胡子命令他的妻子不要进入他城堡的某个房间，或者《创世记》中告诉亚当和夏娃）不要吃知识树的果实）我们知道它会被违背。否则不可能有故事。伊万不可避免地认为火鸟太漂亮了，不能放在简陋的木笼里。但他刚把它放进金子里，守卫就冲进来把他带到城堡的主人——一位可怕而愤怒的国王面前。当伊万解释说他并不是为了自己的利益而偷走火鸟，而是为了恢复父亲的健康时，国王说他会把火鸟送给他；但前提是伊凡用另一件伟大的宝藏换取他，那就是金鬃马。
The vixen leads Ivan to a mysterious remote castle made of bronze, where the Firebird lives in a room with two cages, one golden, the other of wood. The fox tells Ivan that he must go into the castle alone, and that whatever he does, he must put the Firebird into the wooden cage and not that of gold. Of course whenever such a prohibition is issued in a story (as when Peter Rabbit is told not to go into Mr McGregor’s garden, or Bluebeard orders his wife not to go into a certain room in his castle, or Adam and Eve are told in Genesis not to eat the fruit of the Tree of Knowledge) we know it will be disobeyed. Otherwise there can be no story. Inevitably Ivan considers the Firebird too beautiful to be placed in the humble wooden cage. But no sooner has he placed it in that made of gold than guards rush in to take him before the owner of the castle, a fearsome and angry king. When Ivan explains that he was not trying to steal the Firebird on his own account but only to restore his father’s health, the king says he will give him the Firebird; but only on condition that Ivan obtains for him in exchange another great treasure, the Horse with the Golden Mane.
第二集实际上是第一集的重复。泼妇把伊万带到了另一座偏远的城堡，这次是银色的，伊万再次违反了她的禁令，被带到了城堡可怕的主人面前。他再次解释说，他并不是为了自己而偷窃，并被告知，如果他从遥远的海边一座金色城堡带回第三件伟大的宝藏，即金色公主，他就可以获得这匹马。
This second episode is virtually a repeat of the first. The vixen leads Ivan to another remote castle, this time of silver, where again Ivan disobeys her prohibition and is brought before the castle’s fearsome owner. Again he explains that he was not stealing on his own behalf, and he is told he can have the horse if he brings back to its owner a third great treasure, the Golden Princess from a faraway golden castle beside the sea.
《火鸟》围绕“三法则”进行了如此全面的构建当泼妇把伊凡引到金色城堡时，他的第三次大考验原来还包括另外三个考验。城堡的主人是可怕的“海洋女王”，她有三个美丽的女儿，其中第三个也是最小的女儿是黄金公主。现在，伊万终于从以前的经验中学会了完全按照狐狸精的建议去做，这使他能够通过第一个测试，认出最小的女儿是穿着最朴素的女儿。在这里我们再次看到了熟悉的原则，即任何代表自我的东西，就像阿拉丁在闪闪发光的珠宝洞穴中的普通旧灯一样，通常是最不引人注目的东西，因为它的价值在于内在而不是外在。事实证明这确实是整个故事的关键 因为尽管愤怒的王后又给伊万强加了两项任务，每一项都比前一项更难，但他还是通过了这两项任务，因为公主现在正在秘密地帮助他。终于在千钧一发之际，他和公主设法逃离了复仇的黑暗母亲，伊万只是感到悲伤，因为他现在爱公主胜过世界上的一切，无法忍受用她来交换金鬃马的想法。但随着故事的展开，泼妇再次出手相助。经过 伊凡悲伤只是因为他现在爱公主胜过世上的一切，无法忍受用她来交换金鬃马的想法。但随着故事的展开，泼妇再次出手相助。经过 伊凡悲伤只是因为他现在爱公主胜过世上的一切，无法忍受用她来交换金鬃马的想法。但随着故事的展开，泼妇再次出手相助。经过小狐狸先神奇地把自己伪装成公主，然后又伪装成马，最终帮助伊凡带着三件“宝藏”完好无损地摆脱了两位黑暗之王，开始了回家之旅的最后阶段。
So comprehensively structured round the Rule of Three is The Firebird that, when the vixen leads Ivan to the golden castle, his third great test turns out itself to consist of three more tests. The owner of the castle is the terrible ‘Queen of the Sea’ and she has three beautiful daughters, the third and youngest of whom is the Golden Princess. Now at last Ivan has learned from his previous experiences to do exactly as the vixen advises him, and this enables him to pass the first test by identifying the youngest daughter, as the one who is most plainly dressed. Once again here we see the familiar principle that whatever represents the Self, like Aladdin’s plain old lamp in a cave of glittering jewels, is often the thing which least obviously catches the eye, because its value lies within and is not external. This turns out to be really the crux of the whole story, for although the enraged Queen imposes two further tasks on Ivan, each harder than the last, he passes both because the Princess is now secretly helping him. Finally in the nick of time he and the Princess manage to escape the avenging Dark Mother, and Ivan is only sad because he now loves the Princess more than anything in the world and cannot bear the thought of exchanging her for the Horse with the Golden Mane. But again the vixen comes to his aid, as the story unravels back the way it came. By magically disguising herself first as the Princess, then as the Horse, the little fox eventually helps Ivan to get away from the two Dark Kings with all three ‘treasures’ intact, and he can begin the final stages of his journey home.
然后，正当一切似乎都即将解决的时候，“核心危机”突然出现了。伊万正要走出离家不远的森林，却犯了一个致命的错误。就像奥德修斯在风神埃俄罗斯的帮助下第一次到达伊萨卡岛时，他感到疲倦并睡着了。关键时刻他失去了知觉。他的兄弟们在森林里遇见了他，看到了他的战利品，并作为黑暗对手决定偷走它们。他们将伊万切成一千块，把他留在森林里，然后把财宝带回家，以为其中一个会嫁给公主，并分享王国。但当他们到达时，火鸟不唱歌，马低下头不吃东西，公主也日渐憔悴。他们的父亲，国王，相信他最小的儿子一定已经死了，悲痛欲绝。
Then, just as all seems on the verge of resolution, there intrudes the ‘central crisis’. Ivan is about to emerge from the forest within sight of home when he makes a fatal mistake. Just like Odysseus when he is first about to reach Ithaca with the help of the wind-god Aeolus, he feels weary and falls asleep. At a crucial moment he has lost consciousness. His brothers come upon him in the forest, see his prizes and, as Dark Rivals, decide to steal them. They cut Ivan into a thousand pieces, leaving him in the forest, and bring the treasures home, thinking that one of them will marry the Princess and that they will share the kingdom. But when they arrive the Firebird does not sing, the Horse hangs its head and will not eat, and the Princess pines away. Their father, the king, believing his youngest son must be dead, falls sicker with grief than ever.
“中心危机”的目的始终是强调成熟过程的最后阶段与早期阶段有何不同。英雄陷入昏迷似乎是致命的。从现在开始，他必须比以往更充分地发展自己的意识，因为他学会了依靠自己的力量。事实上，小泼妇确实再次出手相救，而且是最后一次。经过一段复杂的情节后，雌狐在另一只乐于助人的动物乌鸦的帮助下飞到遥远的大海带回生与死之水，之后，雌狐将英雄重新组合起来，并让他复活。但是，在告诉伊万伪装成一个卑微的马厩男孩去他父亲的城堡后，她从故事中消失了，最终让他完全独自一人。奥德赛，当奥德修斯穿着乞丐的破烂衣服秘密接近他的宫殿时。当伊万到达时，他发现整个城堡都笼罩在可怕的阴影之下。一切都病了，状态不好。但由于他的回归，一切都逐渐恢复正常。首先，马认出了新的“马厩男孩”并开始进食。国王听说了这个奇迹，就派人去找马童，看看他是否能为火鸟做同样的事。它也认出了他并开始唱歌。最后马童被带到公主面前，公主也很高兴地认出了他。国王感到非常惊讶，直到伊凡脱掉伪装并暴露了自己的真实身份。两个对手的无情背叛被揭露，他们被斩首。国王康复了。伊凡和他的公主结婚并继承了半个王国（民间故事中的常见主题，以表明英雄已准备好继承）；当国王最终去世时，他们继承了全部王位，并“在余生中明智而良好地治理国家”。
The purpose of the ‘central crisis’ is always to emphasise how the final stages of the maturing process are different from what came earlier. The hero’s lapse into unconsciousness has seemed fatal. From now on he must develop his consciousness more fully than ever, as he learns to depend on his own powers. In fact, the little vixen does again come to the rescue, for the last time. After a complex episode which involves enlisting the help of another helpful animal, a raven, to fly to the distant sea to bring back the waters of life and death, the vixen puts the hero back together again and restores him to life. But, having told Ivan to go to his father’s castle disguised as a humble stable boy, she disappears from the story, leaving him at last completely on his own. The climax of the story is approaching in a way which may remind us of the closing stages of the Odyssey, when Odysseus secretly approaches his palace disguised in beggar’s rags. When Ivan arrives he finds the whole castle under a terrible shadow. All is sick and out of sorts. But thanks to his return everything gradually comes together again. First the Horse recognises the new ‘stable boy’ and begins to eat. The king hears of this miracle and sends for the stable boy to see whether he can do the same for the Firebird. It too recognises him and begins to sing. Finally the stable boy is brought before the Princess, She also recognises him with joy. The king is astonished until Ivan throws off his disguise and reveals his true identity. The heartless treachery of the two Rivals is exposed and they are beheaded. The king is restored to health. Ivan and his Princess are married and succeed to half the kingdom (a common motif in folk tales, to show that the hero is ready to inherit); and when the king eventually dies, they succeed to the whole and ‘govern the kingdom wisely and well for the rest of their lives’.
当然，在其童话般的象征意义背后， 《火鸟》所描述的本质是完全熟悉的。作为一个年轻人的成长故事，我们看到他只有通过表现出男性和女性特质的平衡才能做到这一点。在他的整个旅程中，就好像他来到了一连串的门前，每一扇门都必须以正确的方式打开。最初他会犯错误，但由于他最终不是为了自己而行动，而是为了某个更伟大、无私的事业，这一事实使他得救了。最终他学会了控制自己的冲动并相信自己正是这种程度的自我克制，在他与黑暗母亲/女王的关键遭遇中，为他赢得了与阿尼玛不可动摇的联盟/ 公主。尽管如此，在即将射门的关键时刻，他仍然因缺乏意识而犯下了最严重的错误，而同样，只有本能的“乐于助人的动物”拯救了他。但他现在终于可以靠自己了。当他到达故事的高潮时，他必须依靠自己的品质来证明自己；事实上，他之前的英雄主义和善良为他赢得了在城堡里等待他的三个神秘“盟友”的完全忠诚。在最后三个“测试”中，三法则最后一次发挥作用。伊凡本人是让他的三个盟友复活的“第四个”。与许多其他故事一样，我们看到“三”最后变成了“四”，象征着完美整体的最终出现。英雄的真实身份终于显露出来，
Behind its fairy-tale symbolism, the essence of what The Firebird is describing is, of course, entirely familiar. As the story of a young man’s growing up, we see how he can only do this by showing a balance of qualities, masculine and feminine. All the way through his journey it is as though he comes to a succession of doors, each of which must be opened in the right way. Initially he makes mistakes, but is saved by the fact that he is ultimately acting not for himself but in some greater, selfless cause. Eventually he learns to control his impulses and to trust his instincts, and it is this degree of self-mastery which, in his crucial encounter with the Dark Mother/Queen, wins him his unshakeable alliance with the anima/ Princess. Nevertheless he still, at the critical moment when he is within sight of the goal, makes his worst mistake through a lack of awareness, and again it is only the ‘helpful animal’ of instinct which saves him. But he is now finally on his own. As he reaches the climax of the story he has to prove himself by relying on his own qualities; and on the fact that his previous heroism and good-heartedness have won him the total loyalty of his three mysterious ‘allies’ waiting for him in the castle. For the last time the Rule of Three operates in the last three ‘tests’. Ivan himself is the ‘fourth’ who brings his three allies to life. As in many other stories, we see a ‘three’ becoming a ‘four’ at the end, to symbolise the final emergence of a perfect totality. The hero is revealed at last in his true identity, is united with his ‘other half’ and can succeed to his father, to rule wisely over the kingdom he has redeemed.
罗宾汉
Robin Hood
罗宾汉的传说再次向我们展示了一个王国——十二世纪的英国——陷入可怕阴影的景象。王国真正、公正的统治者理查德已经消失在国外。在他缺席的情况下，他的统治被他邪恶的弟弟约翰篡夺了，约翰既软弱又残暴。王国中的权力不再以公正或有序的方式行使，其症状就是诺曼贵族滥用职权、专横无情。我们的注意力集中在王国的一个角落，那里的一位当地诺曼领主，诺丁汉郡长，已经成为一个特别恶毒的暴君，而普通民众撒克逊人在他的残酷统治下陷入了恐惧和痛苦。
The legend of Robin Hood again presents us with the picture of a kingdom – twelfth-century England – which has fallen under a terrible shadow. The true, just ruler of the kingdom, Richard, has disappeared abroad. In his absence his rule has been usurped by his wicked brother John, both weak and tyrannical. Power in the kingdom is no longer being exercised in a just or orderly fashion, and a symptom of this is the way the Norman barons abuse their position, behaving arbitrarily and heartlessly. Our attention focuses on one corner of the kingdom where one local Norman lord, the Sheriff of Nottingham, has become a particularly noxious Tyrant, and where the ordinary people, the Saxons, are reduced to fear and misery under his cruel sway.
但在这个黑暗人物投下的阴影中——更准确地说是在舍伍德大森林的阴暗世界中——故事中的英雄周围聚集了一个小社区。罗宾汉有一半诺曼血统、一半撒克逊血统（因此代表了分裂王国的两部分），是一位大贵族亨廷顿伯爵的被剥夺财产的孤儿。童年时期失去了父亲，长大后他面临着诺丁汉警长这个黑暗父亲/暴君的形象，作为他独特的“黑暗对立面”。现在，他在森林里聚集了一群追随者，他们代表着一种“低等王国”，在他们的影子“国王”罗宾和他的“女王”女仆玛丽安的统治下。小约翰、威尔·斯嘉丽、塔克修士等人凭借技能和个性的差异，组成了一个平衡的社区，潜在完整性的形象。但有关这些问题的任何事情都没有公开或得到妥善解决。他们是不法之徒，只能通过伪装向外界展示自己。罗宾本人不得不以假名生活，掩盖他真正的高贵身份。我们在故事的早期阶段了解到他是如何爱上玛丽安的，以及他们是如何差点结婚的；但是，在祭坛的台阶上，他们的婚礼被黑暗力量打断了，以至于他们还没有完全结合在一起（因此她仍然是“女仆”）。但我们毫不怀疑罗宾和他的追随者都是光明的人物。罗宾是一位杰出的领导者，完全是一个男人；但又与他内在的女性气质合而为一，只能通过乔装打扮向外界展示自己。罗宾本人不得不以假名生活，掩盖他真正的高贵身份。我们在故事的早期阶段了解到他是如何爱上玛丽安的，以及他们是如何差点结婚的；但是，在祭坛的台阶上，他们的婚礼被黑暗力量打断了，以至于他们还没有完全结合在一起（因此她仍然是“女仆”）。但我们毫不怀疑罗宾和他的追随者都是光明的人物。罗宾是一位杰出的领导者，完全是一个男人；但又与他内在的女性气质合而为一，只能通过乔装打扮向外界展示自己。罗宾本人不得不以假名生活，掩盖他真正的高贵身份。我们在故事的早期阶段了解到他是如何爱上玛丽安的，以及他们是如何差点结婚的；但是，在祭坛的台阶上，他们的婚礼被黑暗力量打断了，以至于他们还没有完全结合在一起（因此她仍然是“女仆”）。但我们毫不怀疑罗宾和他的追随者都是光明的人物。罗宾是一位杰出的领导者，完全是一个男人；但又与他内在的女性气质合而为一，他们的婚礼被黑暗力量打断了，因此他们还没有完全结合在一起（因此她仍然是“女仆”）。但我们毫不怀疑罗宾和他的追随者都是光明的人物。罗宾是一位杰出的领导者，完全是一个男人；但又与他内在的女性气质合而为一，他们的婚礼被黑暗力量打断了，因此他们还没有完全结合在一起（因此她仍然是“女仆”）。但我们毫不怀疑罗宾和他的追随者都是光明的人物。罗宾是一位杰出的领导者，完全是一个男人；但又与他内在的女性气质合而为一，为穷人和受压迫者无私地发挥自己的力量。他心爱的玛丽安，拥有弓箭手的技能，是一个完美的阿尼玛形象，既完全女性化，又具有男性的内在力量。换句话说，胡德在森林阴影王国中的“下等王国”代表了所有完整和光明的潜力，而混乱的上层世界王国显然缺乏这些潜力。
But in the shadows cast by this dark figure – more precisely in the shadowy world of the great forest of Sherwood – a little community has gathered round the hero of the story. Robin Hood, half-Norman, half-Saxon (thus representing both parts of the divided kingdom), is the dispossessed orphan son of a great noble, the Earl of Huntingdon. Having lost his father in childhood, he has grown up to be confronted with the Dark Father/Tyrant figure of the Sheriff of Nottingham as his particular ‘dark opposite’. And he has now gathered round him a group of followers in the forest who represent a kind of ‘inferior kingdom’, under the rule of their shadowy ‘king’ Robin and his ‘queen’ Maid Marian. With their differentiation of skills and personalities, Little John, Will Scarlett, Friar Tuck and the rest add up to a kind of balanced community, an image of potential wholeness. But nothing about them is out in the open or properly resolved. They are outlaws, who can only show themselves to the outer world in disguise. Robin himself is having to live under an assumed name, disguising his true noble identity. We learn how he fell in love with Marian at an early stage in the story aud how they were almost married; but how, on the steps of the altar, their wedding was interrupted by the dark power, so that they are not yet properly and fully united (hence the fact that she is still a ‘Maid’). Yet we are in no doubt that Robin and his followers are figures of light. Robin is an outstanding leader, wholly a man; yet at one with his inner feminine, exercising his strength selflessly on behalf of the poor and oppressed. His loving Marian, with her skill as an archer, is a perfect anima-figure, both entirely feminine and yet with the inner strength of the masculine. In other words, Hood’s ‘inferior kingdom’ in the shadow-realm of the forest represents all the potential for wholeness and light which the upper-world kingdom in disarray so obviously lacks.
经过多次冒险，罗宾和他的手下在暗影王国中逐渐增强了力量和决心，亡命之徒王国终于闯入上层世界，推翻了治安官的暴政；就在真正的国王狮心王理查从国外归来，从他篡位的兄弟手中夺回王位的时刻。罗宾和他的部下丢掉伪装，出现在光明中，并受到国王的荣耀迎接。罗宾本人终于可以承担起亨廷顿伯爵的真正上层世界身份，并最终可以与他的玛丽安正式结婚。王国里的一切都回到了它应该在的地方。快乐的英格兰已经恢复原样。
After many adventures which show Robin and his men gradually building up their power and determination in the shadow realm, the outlaw kingdom finally breaks out into the upper world and overthrows the Sheriff’s tyranny; at just the moment when the true king, Richard the Lionheart, returns from abroad to seize back his throne from his usurping brother. Robin and his men throw off their disguises, emerge into the light and are greeted with honour by their King. Robin himself can at last assume his true upper-world identity as Earl of Huntingdon and can be properly married at last to his Marian. Everything in the kingdom is back where it should be. Merrie England has been restored to itself.
指环王
The Lord of the Rings
二十一世纪初期，彼得·杰克逊将托尔金的《指环王》的富有想象力的三部分银幕版本确立为有史以来最受欢迎的电影之一。我们之前没有仔细研究这部最初由托尔金在第二次世界大战前后为他的小儿子构思的巨著的一个原因是，它是一个故事的另一个例子，它不是由单一的基本情节塑造的但它包含了所有七个元素交织在一起。
In the early years of the twenty-first century, Peter Jackson’s imaginative three-part screen version of Tolkien’s The Lord of the Rings established itself as one of the most popular films ever made. One reason why we have not looked in detail before at this huge novel, originally conceived by Tolkien for his young son in the years around the Second World War, is that it is another instance of a story which is not shaped by a single basic plot but which contains elements of all seven woven together.
托尔金的故事始于舒适、安全的“夏尔”世界——在很多方面都像前机器时代理想化的英格兰乡村，充满了纯真的童年——那里生活着一些被称为霍比特人的近乎人类的小生物。但可以说，夏尔只是灯火通明的前景。在它之外，主要是在东部和南部，延伸出一个广阔而神秘的世界，最近从那里出现了一个巨大的阴影。2 “黑暗领主”，索伦大帝，在遥远的魔多之地（伴随着死亡的回声）的“黑暗塔”中再次占据了他的住所。， 死亡）。阴影最终延伸到夏尔，故事中的霍比特人小英雄佛罗多接到了伟大任务的召唤。有一枚戒指，拥有巨大的魔法力量，但其价值却是矛盾的：它的力量既可以用于善事，也可以用于作恶，但主要用于作恶。世界上没有什么比索伦更希望得到的了，因为这将使他的力量更加完整：
Tolkien’s story begins in the cosy, safe world of ‘the Shire’ – in many ways like an idealised rural England of the pre-machine age, with the innocence of childhood – where there live some little near-human creatures called hobbits. But the Shire is only, as it were, the brightly-lit foreground. Beyond it, chiefly to the east and south, stretches a vast, mysterious world from where a great shadow has lately been emerging.2 The ‘Dark Lord’, Sauron the Great, has taken up his abode again in the ‘Dark Tower’, in the far-off land of Mordor (with its echoes of mort, death). The shadow eventually lengthens as far as the Shire and the little hobbit-hero of the story, Frodo, receives the Call to a great Quest. There is a ring, of enormous magical power, but of ambivalent value: its power can be used both for good and ill, but mostly for ill. There is nothing in the world Sauron wishes to lay his hands on more, because it will make his power complete:
“一环统治他们，一环找到他们
‘One Ring to rule them all, One Ring to find them
一枚戒指将他们全部带入并在黑暗中将他们束缚
One Ring to bring them all and in the darkness bind them
在暗影所在的魔多之地。
In the Land of Mordor where the Shadows lie.’
来自夏尔之外的神秘世界的老巫师甘道夫交给佛罗多的任务是，踏上一段漫长而危险的旅程，前往遥远的魔多的中心，在那里他必须将戒指扔进一个巨大的无底裂缝中。火山，末日火山。
Frodo’s task, laid on him by the old wizard Gandalf, who comes from the mysterious world beyond the Shire, is to make a long and perilous journey to the heart of distant Mordor, where he must throw the ring into a bottomless cleft in a great volcano, Mount Doom.
这就是弗罗多的探索目标，而故事的大部分内容都是围绕着他穿越险恶地形前往魔多的旅程展开的。这遵循通常的任务模式。弗罗多与三个霍比特人伙伴梅里、皮平以及他忠实的园丁山姆·甘吉出发。甚至在他们离开夏尔之前，在来势汹汹的“黑骑士”的阴影下，他们就已经进入了熟悉的任务序列，一系列可怕的考验与喘息和救援的时期交替出现。他们找到了陪伴他们踏上旅程的盟友，直到“公司”有九名强者，其中包括居住在“中土”世界的所有种族的代表、一个精灵、一个矮人和两个男人，其中一个是高个子，神秘的“漫步者”。他们必须面对一系列惊人的敌人和致命的怪物。他们有很多“惊险的死里逃生”。他们遇到了“助手”，比如“好国王”埃尔隆德和凯兰崔尔、“洛瑞恩女士”，“高大、洁白、美丽”，“高于地下的所有珠宝”。他们也在关键时刻受到甘道夫的引导，甘道夫甚至在一段旅程中成为了公司的一员，尽管随后他跌入地下悬崖，看似毁灭，并与一个特别可怕的怪物死死地缠在一起，炎魔（就像夏洛克·福尔摩斯和莫里亚蒂一起跃过莱辛巴赫瀑布）。最终，像福尔摩斯一样，甘道夫以幽灵般难以捉摸的“白骑士”的形式回归，监视着任务的其余部分，甚至有时干预行动。他们也在关键时刻受到甘道夫的引导，甘道夫甚至在一段旅程中成为了公司的一员，尽管随后他跌入地下悬崖，看似毁灭，并与一个特别可怕的怪物死死地缠在一起，炎魔（就像夏洛克·福尔摩斯和莫里亚蒂一起跃过莱辛巴赫瀑布）。最终，像福尔摩斯一样，甘道夫以幽灵般难以捉摸的“白骑士”的形式回归，监视着任务的其余部分，甚至有时干预行动。他们也在关键时刻受到甘道夫的引导，甘道夫甚至在一段旅程中成为了公司的一员，尽管随后他跌入地下悬崖，看似毁灭，并与一个特别可怕的怪物死死地缠在一起，炎魔（就像夏洛克·福尔摩斯和莫里亚蒂一起跃过莱辛巴赫瀑布）。最终，像福尔摩斯一样，甘道夫以幽灵般难以捉摸的“白骑士”的形式回归，监视着任务的其余部分，甚至有时干预行动。炎魔（就像夏洛克·福尔摩斯和莫里亚蒂一起跃过莱辛巴赫瀑布）。最终，像福尔摩斯一样，甘道夫以幽灵般难以捉摸的“白骑士”的形式回归，监视着任务的其余部分，甚至有时干预行动。炎魔（就像夏洛克·福尔摩斯和莫里亚蒂一起跃过莱辛巴赫瀑布）。最终，像福尔摩斯一样，甘道夫以幽灵般难以捉摸的“白骑士”的形式回归，监视着任务的其余部分，甚至有时干预行动。
Such is the goal of Frodo’s quest, and the greater part of the story is taken up with his journey across the hazardous terrain to Mordor. This follows the usual Quest pattern. Frodo sets out with three hobbit companions, Merry, Pippin and his gardener, the faithful Sam Gamgee; and even before they have left the Shire, shadowed by the menacing ‘Black Riders’, they have already entered on that familiar Quest sequence of terrifying ordeals alternating with periods of respite and succour. They find allies to accompany them on the journey, until the ‘Company’ is nine strong, including representatives of all the races which inhabit the world of ‘Middle Earth’, an elf, a dwarf and two men, one of them the tall, mysterious ‘Strider’. They have to confront an amazing array of enemies and deadly monsters. They have many ‘thrilling escapes from death’. They meet with ‘helpers’, like the ‘Good King’ Elrond and Galadriel, the ‘Lady of Lorien’, ‘tall and white and fair’, ‘above all the jewels that lie beneath the earth’. They are also guided at crucial points by Gandalf, who even, for one stretch of the journey, becomes part of the Company, although he then plunges over an underground precipice to seeming destruction, locked in a death-grip with a particularly terrible monster, the Balrog (like Sherlock Holmes plunging with Moriarty over the Reichenbach Falls). Eventually, like Holmes, Gandalf returns, in ghostly elusive form as the ‘White Rider’, to watch over the remainder of the Quest and even, at times, to intervene in the action.
在旅程的中途，公司分裂了——从现在开始，这本书本身就分裂成两个几乎独立的故事，相当难以管理。其中一部以持戒者弗罗多本人和他忠实的山姆为中心，他们独自战斗，穿越日益荒凉和险恶的乡村，向魔多周围的黑暗山脉前进。3在这里，按照探索的模式，他们在球门边缘面临着最严峻的考验。他们在迷宫般的洞穴中对抗可怕的怪物尸罗。佛罗多被可怕的兽人俘虏，山姆借助“魔法武器”——刺剑和戒指本身——除了其他力量之外，还可以赋予佩戴者隐形的能力，就像珀尔修斯的头盔一样——将他释放。在整个旅程的第二部分中，他们一直被奸诈、“低等”的小怪物咕噜所笼罩，软弱而可怜的“黑暗男性”必须通过“黑暗女性”狡猾、恳求、自怜的方式行事，在他对拿到戒指的痴迷欲望中。当弗罗多和山姆最终拖着自己爬上火山的斜坡到达末日裂缝时，他们面临的第三次也是最后一次考验到来了。咕噜发动了最后一次疯狂的攻击，咬掉了弗罗多手指上的戒指，但立即带着它坠入无底深渊而死。目标已经达到了。正如甘道夫所说，“指环持有者已经完成了他的使命”。
Halfway through the journey, the Company is divided – and from now on the book itself splits, rather unmanageably, into two almost separate stories. One of these centres on Frodo the Ring-Bearer himself, with his faithful Sam, as they battle on alone across increasingly wild and menacing country towards the dark mountains which surround Mordor.3 Here, in the pattern of the Quest, they face their worst ordeals on the edge of the goal. They confront the fearful monster Shelob in a labyrinth of caves. Frodo is taken prisoner by the horrible Orcs, and is only released by Sam with the aid of ‘magic weapons’, the sword Sting and the ring itself which, among its other powers, can confer invisibility on its wearer, like Perseus’s helmet. Through all this second part of the journey they have been shadowed by the treacherous, ‘inferior’ little monster Gollum, the weak and pathetic ‘dark masculine’ having to act through the sly, pleading, self-pitiful manner of the ‘dark feminine’, in his obsessive desire to get hold of the ring. The third and last of their final ordeals comes when Frodo and Sam finally drag themselves up the slopes of the volcano to the Cracks of Doom. Gollum launches a last crazed assault, biting the ring off Frodo’s finger but immediately plunging with it to his death in the bottomless pit. The goal has been achieved. As Gandalf puts it ‘the Ring-bearer has fulfilled his Quest’.
但指环王不仅仅是一个探索故事。这也是克服怪物情节的巨大版本。尽管故事里充满了各种各样的怪物和“黑暗人物”，黑骑士、手推车、炎魔、黑暗巫师萨鲁曼和他的半兽人、尸罗等等，但他们最终都是世界上至高无上的怪物的代理人。这一切的核心：魔多黑暗领主索伦（他的名字，与电影版本中的发音相反，与“蜥蜴”相呼应，蜥蜴般的，终极的史前怪物）。他被描绘成一切威胁和致命事物的最终根源。尽管我们从未直接见过他，除了作为一个伟大的观察者，但他背后隐藏着故事中发生的所有可怕的事情，所有的威胁，所有的阴谋。他是邪恶的至高召唤。坐在他的黑暗塔中，他比黑暗想象中的任何事物都更重要。他的一切都是黑暗的、阴暗的和强大的。他就是死亡。佛罗多任务的全部目的就是推翻他的权力。
But The Lord of the Rings is not just a Quest story. It is also an immense version of the Overcoming the Monster plot. Although the story teems with monsters and ‘dark figures’ of every description, Black Riders, the Barrowight, the Balrog, the dark wizard Saruman with his Orcs, Shelob and many others, they are all in the end agents of the supreme monster at the heart of it all: Sauron the Dark Lord of Mordor (his name, contrary to its pronunciation in the film-version, echoing ‘Saurian’, lizard-like, the ultimate prehistoric monster). He is portrayed as the ultimate source of everything that is menacing and deadly. Although we never see him directly, except as a great watching eye, he lies behind all the terrible things which happen in the story, all the threats, all the conspiracies. He is a supreme evocation of Evil. Seated in his Dark Tower, he is more than anything conjured up in imagery of darkness. Everything about him is dark, shadowy and powerful. He is Death. And the whole purpose of Frodo’s Quest is to overthrow his power.
弗罗多距离魔多越近，他就越感觉自己被索伦通过戒指所施展的咒语所吸引，而戒指与索伦有着某种密切的联系。“黑魔王”的力量正在蠢蠢欲动，威胁着整个世界的毁灭。当弗罗多感觉自己被戒指催眠并偏离了自己的目的时，弗罗多陷入了索伦的力量之中，他让自己被兽人俘虏了。但最终，当戒指随着咕噜一起消失在末日裂缝中时，世界各地发生了令人难以置信的剧变。很明显，我们已经赢得了宇宙性的胜利。阴影退去。黑云升起。黑暗势力在四面八方被推翻。正如甘道夫所说，“索伦的王国已经终结”。怪物已经被战胜了。
The nearer Frodo gets to Mordor, the more he feels himself being drawn under Sauron’s spell through the ring, which is somehow intimately connected with Sauron. The ‘Dark Lord’s’ powers are on the move, threatening the whole world with destruction. It is into Sauron’s power that Frodo is falling when, as he feels himself being lulled and pulled from his purpose by the ring, he allows himself to be captured by the Orcs. But finally, when the ring disappears with Gollum into the Cracks of Doom, an incredible upheaval takes place throughout the world. It is clear that a cosmic victory has been won. The shadows recede. The black clouds lift. The forces of darkness are overthrown in all directions. Again, as Gandalf puts it, ‘the realm of Sauron is ended’. The monster has been overcome.
然而，在这方面，我们也可以将《指环王》视为一个强大的重生故事。整个故事给人的印象是一个世界越来越滑向某种致命监禁的永恒冬天。弗罗多通过他的胜利赎回了它。春天回来了。生活已经焕然一新。当刚铎听到这个消息时，他们唱道：“枯萎的树将重新焕发活力，他将把它种植在高处，这座城市将受到祝福。” 大家都唱吧！
In this respect, however, we can also look on The Lord of the Rings as a mighty Rebirth story. The impression given throughout the story is of a world slipping further and further into the eternal winter of some deadly imprisonment. By his victory, Frodo has redeemed it. Spring returns. Life has been renewed. As they sing in Gondor at the news, ‘the tree that was withered shall be renewed, and he shall plant it in the high places, and the City shall be blessed. Sing all ye people!’
这也是一个航行与归来的故事。我们看到弗罗多和山姆在意识有限的状态下，从他们熟悉的小世界出发，进入了一个更广阔、完全陌生的“另一个世界”，他们并没有真正开始理解这个世界。虽然总是令人困惑，但一开始还是很令人兴奋的。但故事的基本形式是一个不断增长的阴影威胁着他们，最终在他们穿越魔多本身的噩梦般的旅程中达到顶峰，四面八方都被无名的恐怖所包围，直到最后，在末日裂缝的最顶端，出现了终极的“惊心动魄的逃脱”。至此，弗罗多和山姆可以放心地回到安全、熟悉的夏尔世界。
It is also a Voyage and Return story. We see Frodo and Sam, in a state of limited consciousness, setting out from their familiar little world into a much vaster, completely unfamiliar ‘other world’ which they do not really begin to understand. Although continually baffling, it is at first quite exhilarating; but the underlying shape of the story is of an ever-growing shadow threatening them, culminating in the nightmare of their journey across Mordor itself, surrounded by nameless horrors on all sides, until finally, on the topmost Crack of Doom, comes the ultimate ‘thrilling escape’. At which point Frodo and Sam can return with relief to the safe, familiar world of the Shire.
与《远航》和《回归》中的其他英雄一样，他们归来时已经发生了转变，我们也可以看到弗罗多和山姆身上发生的变化，他们现在被称为“智者山姆”，这是白手起家故事的一个版本。这个情节的本质是，一个外表不起眼、被周围人视为无足轻重的小人物，最终应该揭示出一个更深层次、更非凡的自我。这正是发生在弗罗多和他的同伴身上的事情。最初他们都是非常普通的小人物。但随着故事的进展，他们发现了意想不到的事情勇气、聪明才智和坚定不移，直到最后他们都变成了伟大的英雄。
As, like other Voyage and Return heroes, they come back transformed, we can also see in the change that has come over Frodo and Sam, now called ‘Sam the Wise’, a version of the Rags to Riches story. The essence of this plot is that an outwardly unremarkable little figure, treated as of little account by those around him, should eventually reveal a much deeper and more extraordinary self within. This is precisely what has happened to Frodo and his companion. Initially they are very ordinary little characters. But as the story progresses they reveal undreamed-of depths of courage, ingenuity and steadfastness, until by the end they have been transfigured into great heroes.
从本质上来说，《指环王》不可能是一部悲剧。但我们当然可以看到悲剧的基本情节在一个角色的命运中展开，即“黑巫师”萨鲁曼，甘道夫的另一个自我，他曾经被赋予强大的魔法力量，但后来受到索伦的影响而堕落。随着故事的发展，我们看到这个极其强大的人物变得越来越沮丧，直到在他的主人索伦被推翻的噩梦中，他前往夏尔，以复仇者的身份进行最后一次可怜的尝试，制造浩劫。在这里，他终于被他狡猾的同伴“虫舌”所激发并杀死，后者在关键时刻从“黑暗”转变为“光明”。
By its nature The Lord of the Rings cannot be centrally a Tragedy. But certainly we see the basic plot of Tragedy unfolding in the fate of one character, the ‘dark wizard’ Saruman, Gandalf’s alter-ego, who had once been endowed with great magical powers for good but then perverted by the influence of Sauron. As the story develops we see this immensely powerful figure becoming more and more frustrated, until, in the nightmare of his master Sauron’s overthrow, he journeys to the Shire to make a last pitiful bid, as Avenger, to create havoc. Here he is finally turned on and killed by his sly companion Wormtongue, who in the nick of time has made the switch from ‘dark’ to ‘light’.
因此，我们之前看到的七个伟大主题中的六个都可以在《指环王》的主要情节中同时展开。但我们可能会注意到这个故事的两个奇怪的事情。
Thus six of the seven great themes we looked at earlier can all be seen unfolding simultaneously in the main plot of The Lord of the Rings. But we may then note two odd things about the story.
第一个，非常不寻常的是，这是一个明确的任务，不是为了赢得一些大奖，而是为了摆脱一些东西，扔掉一些东西。对此的解释在于必须扔掉的“宝藏”——戒指的性质。这枚戒指的全部意义在于，尽管它具有巨大的价值和神奇的特性，但它的全部意义在于，就像另一个以神奇戒指的吸引力为中心的伪神话故事一样，它赋予任何拥有它的人巨大的力量，即瓦格纳的尼伯龙根戒指。它最终是一个非常危险和黑暗的物体。4它不仅与“黑魔王”索伦有着密切的联系，而且如果他能得到它，世界就失去了。事实上，它不是完整的象征，而是自我的象征，诱惑着拥有它的任何人去梦想无限的力量。没有人比故事中的两位伟大的“光”人物更清楚地认识到这一点：甘道夫和凯兰崔尔、智者老人和阿尼玛。两人都暂时想拥有这枚戒指，尽管他们都有足够的自知之明，认识到这将是多么灾难性的后果。尽管弗罗多身体虚弱，但他仍被选为独自携带这枚戒指的人，因为他对自己肩负的庄严任务充满敬畏，不让自己成为这种诱惑的牺牲品。当戒指最终回到它来的地球深处时，5
The first, very unusually, is that it is a Quest explicitly not to win some great prize, but to get rid of something, to throw something away. The explanation of this lies in the nature of the ‘treasure’ which has to be thrown away, the ring. The whole point of the ring – as in that other pseudo-mythic story centred on the appeal of a magical ring which confers enormous power on anyone who possesses it, Wagner’s Ring of the Nibelungen – is that, despite its immense value and magical properties, it is ultimately a very dangerous and dark object.4 Not only is it intimately connected with the ‘Dark Lord’ Sauron, but if he can get hold of it, the world is lost. It is in fact a symbol not of wholeness but of the ego, tempting anyone who possesses it to dreams of infinite power. No one realises this more clearly than those two great figures of ‘light’ in the story, Gandalf and Galadriel, the Wise Old Man and the Anima. Both are themselves momentarily tempted to possess the ring, although each has enough self-knowledge to recognise just how disastrous this would be. Frodo alone has been chosen to carry the ring, despite his frailty, because he is sufficiently awed by the solemn task which has been laid upon him not to fall prey to such temptation. And when the ring is finally returned to the depths of the earth whence it came, the world is restored to life and wholeness because the ego has at last merged back into union with the Self.5
佛罗多故事的另一件奇怪的事情是，当他的任务结束时，缺少一个极其重要的元素。没有女主角，没有“公主”，没有“另一半”来使他完整。这就是为什么他最终看起来不像一个完整的角色，以及为什么整个故事，特别是他的角色有一种强烈的缺失感的部分原因。他在某种程度上仍然没有实现，没有完全发展，是一个霍比特人而不是一个人。
The other odd thing about Frodo’s story is that when his Quest is concluded there is one supremely important element missing. There is no heroine, no ‘Princess’, no ‘other half’ to make him whole. This is part of the reason why he cannot ultimately seem a complete character, and why there is a strong sense of something missing about the story in general and his character in particular. He remains somehow unfulfilled, not fully developed, a hobbit rather than a man.
然而，如果这个极其重要的元素没有出现在故事中的某个地方，那么，如果这个极其重要的元素没有出现在故事中的某个地方，那将是令人惊讶的，一个作者的想象力被如此多的故事基本材料如此深刻地激发了，当然它是存在的。故事中一位真正雄伟的英雄是我们第一次见到的神秘“神行者”，然后他展现了自己，高大、强壮，眼中闪烁着“敏锐、威严”的光芒，是“阿拉松之子阿拉贡” ，是一长串国王的后裔。这是故事中的一个人物，我们可以说他是真正的英雄人物，随着故事在他的想象中展开，这对托尔金来说是如此引人注目，以至于他最终将阿拉贡与他最初的英雄弗罗多分开，并发现他自己被卷入了一个巨大的次要情节，
Nevertheless it would be surprising, where an author’s imagination has been so profoundly stirred by so much of the basic material out of which stories are spun, if this enormously important element were not present somewhere in the story, and of course it is. The story’s one hero of real majestic stature is the figure we first meet as the mysterious ‘Strider’, who then reveals himself, tall, strong and with ‘a keen, commanding’ light in his eyes, as ‘Aragorn, son of Arathorn’, descended from a long line of kings. Here is the one figure in the story of whom we can say that he is cast in truly heroic proportions, and so compelling did this become to Tolkien as the story unfolded in his imagination that he eventually separated Aragorn from his original hero Frodo, and found himself drawn into what amounted to a huge sub-plot, incidental to the main story, to allow him to follow the story of his new ‘hero’ to its proper conclusion.
正是这一点解释了为什么当弗罗多和山姆开始最后接近魔多时，这本书分成了两个几乎独立的故事，这有点令人不安。很长一段时间，他们两个人朝着一个方向出发，而公司的其他人则朝着另一个方向出发，把整个故事串联起来并不容易。我们跟随兽人俘获梅里和皮平、圣盔深渊的围攻、甘道夫和洛汗骑士的营救、树须和他的恩特步行森林营救梅里和皮平的巨大戏剧性事件，接着是他们淹没了萨鲁曼的阴森城市艾辛格，围绕着它的黑暗塔楼。但这一切的全部意义并不十分清楚，直到最后一条新的中心故事情节出现，与《弗罗多的任务》的最后阶段并行。当它发生时，
It is this which accounts for the somewhat disconcerting way in which, at the point where Frodo and Sam begin their final approaches to Mordor, the book splits into two almost separate stories. For a long time, as the two of them set off in one direction and the remainder of the Company in another, it is not easy to hold the whole story together. We follow the immense drama which surrounds the capture of Merry and Pippin by the Orcs, the siege of Helm’s Deep, its rescue by Gandalf and the Riders of Rohan, the rescue of Merry and Pippin by Treebeard and his walking forest of Ents, followed by their flooding of Saruman’s grim city of Isengard round its dark tower. But the full significance of all this is not really clear, until at last a central new story-line emerges to run in parallel with the closing stages of Frodo’s Quest. When it does, we see it taking on a very familiar shape.
我们被引入一个混乱的王国，刚铎，其首都米那斯提力斯由一位软弱的摄政王统治，因为它的“真正的国王”缺席，因此无法长时间抵御来自魔多的黑暗力量的攻击。但在城墙外的阴影中，救赎正在临近，在阿拉贡和他的盟友的形状。从阿拉贡围攻圣盔谷的经历中，我们已经看到了他日益英雄的一面。现在我们得知，这位神秘的流浪者实际上是刚铎真正的国王。在关键时刻，他卸下了伪装，像奥德修斯一样展现出王者的威严。他拯救了他的城市并救赎了他的王国。阿拉贡的故事最终以他与美丽的精灵公主阿尔文·埃文斯塔的婚姻而告终。
We are introduced to a kingdom in disarray, Gondor, with its capital Minas Tirith, ruled by a weak regent because its ‘true king’ is absent, and therefore unable to withstand for much longer the attacks of the dark power emanating from Mordor. But in the shadows beyond the city walls, salvation is approaching, in the shape of Aragorn and his allies. We have already seen Aragorn in an increasingly heroic light, from his part in the siege of Helm’s Deep. We now learn that this mysterious wanderer is in fact Gondor’s true king. In the nick of time he throws off his disguise, emerging like Odysseus in royal majesty. He saves his city and redeems his kingdom. Aragorn’s story then ends in his marriage to the beautiful Elvish Princess Arwen Evenstar.
从这个意义上说，当主人公从伪装和模糊身份的暮色中走出来，到与一位名字表明她是光明的女主人公最终光荣结合时，本书还包含了第七个情节“喜剧”的元素。然而，事实上，阿拉贡自己的戏剧在某种意义上是在舞台中心展开的，而且本书的中心人物不是他，而是更加有限、孩子气的弗罗多，这让我们在最后留下这样的感觉：仍然缺少一些东西，尽管《指环王》非常精彩，但它并不是一个完全完整的、成熟的故事。
In this sense, as the hero emerges from the twilight of disguise and obscured identity to his final glorious union with a heroine whose name indicates that she is all light, the book also contains elements of the seventh plot, Comedy. Yet the fact that Aragorn’s own drama unfolds in a sense off centre-stage, and that it is not he but the much more limited, child-like Frodo who is the central figure of the book, leaves us at the end with the sense that there is still something lacking and that, for all its splendours, The Lord of the Rings is not a fully integrated, grown-up story.
有趣的是，在我们目前关注的背景下，一个最初是为了娱乐孩子而构思的故事，因此有一个相当孩子气的英雄，最终应该在作者的潜意识中唤起所有必要的更深层次的元素。为故事带来完整的典型幸福结局——展现一位已经完全成熟的英雄与他的“公主”结合并继承一个王国。但这需要一个新英雄的出现，他有能力成为一个完全的男人，因为原来的英雄永远不可能真正成长为一个孩子。这就是为什么在书的结尾，弗罗多跨越西海前往极乐群岛，仍然与甘道夫为伴：甘道夫是他自己永远无法成为的父亲。
What is interesting, in the context of our present concerns, is that a story which was originally conceived to entertain a child, and therefore had a rather child-like hero, should eventually have aroused in its author’s unconscious all those deeper elements which are necessary to bring a story to the complete archetypal happy ending – showing a hero who has attained to complete maturity being united with his ‘Princess’ and succeeding to a kingdom. But this required the emergence of a new hero, equipped to become fully a man, because the original hero could never really develop into anything more than a child. Which is why, at the end of the book, Frodo departs for the Isles of the Blest across the western sea, still in the company of Gandalf: the father he could never himself become.
堂吉诃德
Don Quixote
到目前为止，我们在本章中看到的例子都属于我们在生命早期阶段可能遇到的故事类型，其中男女主人公与以他们为中心的黑暗势力展开斗争。直到后来，我们才更加一致地看到从另一个角度呈现戏剧的故事，这些故事表明男女主人公必须与自己内心同样的黑暗力量作斗争。在皮尔·金特例如，另一个故事由所有七个基本情节的元素组成，我们看到英雄在开始时遇到的黑暗人物，巨魔的黑暗国王和绿衣妖妇，是黑暗力量的化身，然后几乎在整个故事中，我们都逐渐拥有了英雄本人。他真正的问题是找到更广阔的视野，将他从自己可怕而盲目的自私中解放出来，从“黑暗的男性”和“黑暗的女性”的双重束缚中解放出来，这种双重束缚将他与自我分开；直到他最终进入更深层次的意识状态，故事可以以佩尔的形象结束，他的阿尼玛索尔维格，“轻微的男性气质”和“轻微的女性气质”完美平衡。
The examples we have so far looked at in this chapter all belong to the type of story we are likely to encounter in the earlier stages of life, where the hero or heroine are shown as pitted against dark forces centred outside them. Only later do we come more consistently to stories which present the drama from that other perspective which shows the hero or heroine having to contend with the same dark forces within themselves. In Peer Gynt, for instance – another story shaped by elements of all the seven basic plots – we saw how the dark figures the hero encounters at the beginning, the Dark King of the Trolls and the Temptress Woman in Green, are personifications of the dark powers which then come to possess the hero himself through almost the whole of the story. His real problem is to find that wider vision which will liberate him from his own monstrous and blind egotism, from the double grip of the ‘dark masculine’ and the ‘dark feminine’ which is separating him from the Self; until he is finally brought to that deeper state of consciousness, and the story can end on the image of Peer united with his anima Solveig, ‘light masculine’ and ‘light feminine’ in perfect balance.
事实上，所有的原型故事——无论黑暗是表现在中心人物的外部还是内部——都真正关注的是男女主人公的内心状态。根据“未实现价值”的原则，他们与外部世界的斗争只是他们内心发生的事情的反映，我们永远看不到他们令人满意地克服外在的黑暗，直到消除内在的黑暗。
In fact all archetypal stories – whether the darkness is shown as outside the central figure or within – are really preoccupied with the hero or heroine’s inner state. By the principle of the ‘unrealised value’, their battles with the external world are merely reflections of what is going on inside them, and we never see them satisfactorily overcoming the darkness outside them until they have eliminated the darkness within.
十七世纪西班牙伟大小说《堂吉诃德》就是一个明确表达这一点的故事。塞万提斯故事的全部目的就是要展示一个人的愚蠢，他把自己内心应该进行的斗争投射到外部世界。堂吉诃德是一个中年男人，多年来一直痴迷于侠义爱情故事、骑士英勇拯救落难少女的故事（相当于我们这个时代的詹姆斯·邦德故事），却不了解其内在含义。充满盲目和愚蠢的自私心的他决定自己成为一名骑士。他致力于为当地女孩拉·杜尔西内亚·托博萨（La Dulcinea Tobosa）“服务”，作为他阿尼玛的外在投射，拿起一把生锈的长矛，作为他男子气概的投射，骑马进入世界挑战他能找到的所有邪恶力量。但当然，这些黑暗力量的表现纯粹是虚幻的，是他自己幻想的投射，就像当他攻击风车时，想象它们是敌对的巨人。
A story explicitly concerned to make precisely this point is that great seventeenth-century Spanish novel Don Quixote. The whole purpose of Cervantes’s tale is to show the foolishness of a man who projects onto the outside world the struggle which should be fought inside him. Don Quixote is a man in middle life who for years has been obsessed with chivalric romances, stories of knights engaged in derring-do to save damsels in distress (the equivalent of the James Bond stories of our own time), without understanding their inner meaning. Full of blind and silly egotism, he decides to become a knight himself. He dedicates himself to the ‘service’ of a local girl, La Dulcinea Tobosa, as an external projection of his anima, takes up a rusty lance, as a projection of his masculinity, and rides out into the world to challenge all the powers of evil that he can find. But of course these manifestations of the dark power are purely illusory, projections of his own fantasies, as when he attacks the windmills imagining them to be hostile giants.
直到他作为一个荒唐的自欺欺人的白痴在世界上徘徊了很长一段时间之后（这一点对他遇到的几乎每个人来说都太明显了），他才终于认识到了他一直在逃避的核心事实：他一直向外界的“敌人”投射的盲目性和自我中心主义，实际上是他自己的问题。在书的最后几页，他抛弃了那些让他陷入错误观点的愚蠢浪漫故事，并为自己的愚蠢行为悔恨不已。他终于获得了真正的自知之明，他已经“看到了整体”。此时，他从愚蠢的堂吉诃德变成了“善良的堂阿隆索”，在晚年去世，与自己和整个世界和平相处。
It is only after he has wandered through the world for a long time as an absurdly self-deceiving idiot (as is only too apparent to almost everyone he meets) that he finally recognises the central truth which has been eluding him all along: that all the blindness and egotism which he has been projecting onto the ‘enemies’ outside him are in fact his own problem. In the closing pages of the book, he flings away the silly romances which have snared him into such a false perspective and repents of his idiocy. He has at last won true self-knowledge, he has come to ‘see whole’. And at this point, transformed from the foolish Don Quixote into ‘Don Alonso the Good’, he dies in old age, at peace with himself and all the world.
暴风雨
The Tempest
在《指环王》的结尾，弗罗多消失在夕阳中，仍然由智老人领导，他永远无法成为自己。堂吉诃德至少在临终前达到了智慧的开端。莎士比亚最后一部完整的戏剧是世界上为数不多的集中讲述英雄转变为智者过程的故事之一，代表着一个人所能达到的最完整的成熟和内在发展状态。
At the end of The Lord of the Rings Frodo disappears into the sunset, still led by the Wise Old Man he could never become himself. Don Quixote at least attains to the beginning of wisdom just before his death. One of the few stories in the world which concentrate on the process of a hero actually being transformed into a Wise Old Man, representing the most complete state of maturity and inner development a man can reach, is the last complete play written by Shakespeare.
在《暴风雨》中，我们再次面对一个王国的形象，那里出现了严重的问题，真正的统治者缺席，权力被他软弱、暴虐的兄弟篡夺了：尽管在剧中，我们并没有实际上看到这个‘上层世界’一点混乱都没有。在这部莎士比亚戏剧中最内心深处的作品中，我们完全追踪在阴暗的“低等”（或内部）领域中发生的事件，多年后，我们终于看到了光明的力量，让世界恢复正常。
In The Tempest we are again confronted by the image of a kingdom where something has gone horribly amiss, where the true ruler is absent and where power has been usurped by his weak, tyrannical brother: even though, in the play itself, we do not actually see this ‘upper world’ in disarray at all. In this, the most inward of all Shakespeare’s plays, we follow events entirely in the shadowy ‘inferior’ (or interior) realm, where, after many years, we see the forces of light at last constellating to put the world to rights.
剧中的第一个画面给人一种航行和返回故事的直接感觉，是一群来自生病的“上层世界”的人物，篡位的安东尼奥公爵，他同样黑暗的朋友阿隆索国王和他们的追随者，突然翻倒当他们的船在普洛斯彼罗的岛上失事时，他们猛烈地进入了“下等领域”。这里等待着下层世界的居民让他们经历将改变他们的磨难：首先是被流放的普洛斯彼罗本人。安东尼奥作为真正的米兰公爵的正确身份。现在，经过多年的学习和内心的成长，普洛斯彼罗几乎已经完全变成了一位智者；在他身边，我们看到了他温柔的女儿米兰达，她是阿尼玛完美、充满爱的象征。但即使在普洛斯彼罗的影子王国中，一切也还没有完全得到救赎并被带入光明，正如我们从黑暗母亲和女巫西科拉克斯之子卡利班的步履蹒跚、阴暗存在中看到的那样。普洛斯彼罗本人仍然需要采取最后的行动，以使他在上层世界恢复完全的王权状态。与天真、富有同情心的米兰达相比，他仍然对那些冤枉他的人感到愤怒。同样，在现在落入普洛斯彼罗权力之下的上层世界人物中，也并非全都是黑暗的：他们包括两个光明人物，儿子英雄斐迪南，以及忠实的老廷臣贡萨洛，他曾负责从普洛斯彼罗和米兰达手中拯救普洛斯彼罗和米兰达。多年前他就已经去世了，而他自己则以第二位智者的身份通过圣人的眼睛观察着这出戏剧。
The first image in the play, giving it the immediate feel of a Voyage and Return story, is of the group of characters from the sick ‘upper world’, the usurping Duke Antonio, his equally dark friend King Alonso and their followers, tumbling suddenly and violently into the ‘inferior realm’ as their ship is wrecked on Prospero’s island. Here wait the denizens of the lower world to put them through the ordeals which will transform them: above all Prospero himself, who was exiled by Antonio from his proper state as the true Duke of Milan. Now, after years of study and inward growth, Prospero has been almost completely transformed into a Wise Old Man; and with him we see his gentle daughter Miranda, a perfect, loving symbol of the anima. But even in Prospero’s shadow-kingdom all is not yet fully redeemed and brought to the light, as we see from the shambling, shadowy presence of Caliban, son of the Dark Mother and Witch Sycorax. Prospero himself still has to make the last moves which will bring him back to his full state of kingship in the upper world. He still, in contrast to the innocent, compassionate Miranda, has some anger against those who have wronged him. Equally, among the upper world figures who have now fallen into Prospero’s power, not all are wholly dark: they include two light figures, the Son-Hero Ferdinand, and the faithful old courtier Gonzalo, who had been responsible for saving Prospero and Miranda from death all those years before, and who himself observes the drama through sage eyes as a second Wise Old Man.
现在正在启动的伟大变革进程的第一步是将新兴一代的两位代表——费迪南德和米兰达——王子和公主聚集在一起。在他们之间纯洁无邪的爱情瞬间萌芽时，我们看到了对未来的希望和新生活的第一个承诺。但在实现这一目标之前，必须解开涉及老一代人的整个混乱关系，并将其带入适当的赋予生命的状态。真正需要解决的问题是疾病和混乱的主要根源，集中在两个黑暗之王安东尼奥和阿隆索身上。从双重否定的角度来看，这些都是英雄普洛斯彼罗本人的“黑暗对立面”，象征着所有阻碍他实现自己完整状态的因素。
The first move in the great process of transformation which is now set in motion is the bringing together of the two representatives of the rising generation, Ferdinand and Miranda, a Prince and a Princess. In the instant burgeoning of pure, innocent love between them we see the first promise of hope and new life for the future. But before that can be realised, the whole complex of disordered relationships involving the older generation must be unknotted and brought into their proper life-giving state. The real problem which has to be sorted out is the chief source of the sickness and disorder, centred in the two dark kings, Antonio and Alonso. These, by the double-negative, are the ‘dark Opposites’ to the hero Prospero himself, symbolising all that holds him back from his own state of wholeness. And the key figure in the drama now becomes his servant Ariel.
普洛斯彼罗将爱丽儿描述为“我的狡猾的灵魂”，她是一个难以捉摸、顽皮的骗子，她在故事中的典型角色是煽动和迷惑那些处于一种意识模式的人进入另一种意识模式。他像鬼火一样跳舞，利用他的魔法力量，让他们相信他们不再确定任何事情。他把他们从现有的心态中引出来：首先，进入一种看似疯狂的状态，一切都不再确定；但最终还是重新看清了这个世界。
Described by Prospero as ‘my tricksy spirit’, Ariel is the elusive, mischievous Trickster, whose archetypal role in stories is to stir up and bewilder people who are set in one mode of consciousness into another. Dancing round like a will-o’-the-wisp, using his magical powers, he convinces them that they are no longer sure of anything. He teases them out of their existing state of mind: firstly, into what seems like a state of madness, where nothing is any longer certain; but eventually into seeing the world straight and whole again.
这就是爱丽儿在《暴风雨》中的角色。首先，他通过令人眼花缭乱的诡计、幻象和神秘的音乐，将黑暗人物逼入绝望的状态。然后他让他们面对可怕罪行的现实，即篡夺普洛斯彼罗，并暗示这种罪行必须导致死亡。“你们是人类中最不适合生存的人，”他告诉他们，“我让你们发疯了；即使有这样的勇气，人们也会把自己真正的自我吊死并淹死。换句话说，他们罪孽的核心在于他们没有忠于自己；他们侵犯了自我。最后，当他们开始对自己所做的事情感到恐惧时，普洛斯彼罗面对他们，这种震惊——因为他们认为他已经死了——足以让他们乞求怜悯和宽恕。当普洛斯彼罗原谅他们时，他终于达到了完整，当他以真正的上层世界身份出现并重新获得对他合法王国的主权时。贡萨洛传达的信息是，在经历了“没有人是自己的”的时代之后，这次冒险的全部效果是让每个人都回到正常的自我。
Such is Ariel’s role in The Tempest. First, by a bewildering display of tricks, visions and mysterious music, he drives the dark figures into a state of desperation. Then he confronts them with the reality of their terrible crime, the usurpation of Prospero, with the hint that such a crime must lead to death. ‘You among men being most unfit to live’ he tells them, ‘I have made you mad; and even with such-like valour, men hang and drown their proper selves’. In other words, the heart of their crime is that they have not been true to their proper selves; they have violated the Self. Finally, as the horror of what they have done begins to sink in on them, Prospero confronts them and this shock – for they thought he was dead – is enough for them to beg for mercy and forgiveness. At the point where Prospero does forgive them, he at last reaches wholeness, as he emerges in his true upper world identity to reassume sovereignty over his rightful kingdom. Gonzalo rubs in the message that the whole effect of the adventure had been to bring everyone back to their proper selves, after a time when ‘no man was his own’.
最后，年轻的英雄儿子和英雄女儿费迪南德和米兰达，在他们父亲阿隆索和普洛斯彼罗的祝福下，真正团结一致地走上舞台中央。通向未来的康庄大道是开放的、有把握的。现在，故事中真正的英雄，普洛斯彼罗本人，已经变得完整，他的王国得到了彻底的救赎，甚至连粗鄙、醉酒的卡利班、一无所知的动物人（与智慧老人正好相反，因此普洛斯彼罗的剧中的另一个“黑暗对立面”）已被卷入了普遍的救赎之中，并说“我将在今后明智地寻求恩典”。普洛斯彼罗独自在舞台中央结束，完成了他伟大的精神工作，这一切最终都与纠正他自己的“内部王国”有关。
At last the young Son-Hero and Daughter-Heroine, Ferdinand and Miranda, can step to the centre of the stage, truly united, with the blessing of their fathers Alonso and Prospero. The royal road to the future is open and assured. And now that the real hero of the story, Prospero himself, has become whole, his kingdom fully redeemed, even the gross, drunken Caliban, the animal-man who has understood nothing (the very opposite of a Wise Old Man, and therefore Prospero’s other ‘dark opposite’ in the play) has been swept up in the general redemption and says ‘I will be wise hereafter and seek for grace’. Prospero ends alone in the middle of the stage, having completed his great spiritual work, which has all been ultimately concerned with the putting right of his own ‘inner kingdom’. He is utterly drained and left in a state of complete religious humility: ‘now my charms are all o’erthrown ... and my ending is despair, unless I be relieved by prayer’.
因此，莎士比亚实际上结束了他自己巨大的内心旅程，这一旅程一步一步地反映在他戏剧的所有展开序列中。他现在可以从这个世界退休，在他开始的斯特拉特福安静地结束他的日子。像普洛斯彼罗一样，他已经达到了他的目标。
Thus in effect did Shakespeare conclude his own immense inner journey, reflected stage by stage through all the unfolding sequence of his plays. He could now retire from the world to end his days quietly in Stratford where he had begun. Like Prospero, he had reached his goal.
魔笛
The Magic Flute
没有什么故事比莫扎特在 1791 年生命的最后几个月所写的、根据伊曼纽尔·希卡内德 (Emanuel Schikaneder) 的剧本创作的魔幻歌剧更适合总结引导故事走向幸福结局的原则了。世界上没有哪个故事比《魔笛》更完整、更经济地阐述了典型家庭剧的精髓。
There is no more appropriate story to conclude this summing-up of the principles which guide stories to a happy ending than the magical opera which Mozart wrote in the closing months of his own life in 1791, to a libretto by Emanuel Schikaneder. No story in the world lays out the essence of the archetypal family drama more completely or economically than The Magic Flute.
故事情节由四个角色主导：父亲般的萨拉斯特罗勋爵；母亲形象，夜之女王；英雄儿子塔米诺；还有一个女儿女主角，帕米娜。《魔笛》以象征性的方式描绘了一个人内心心理发展的所有关键阶段，从他出生的那一刻，到他逐渐启蒙，直到他最终有意识地完整。
The plot is dominated by four characters: a Father-figure, Lord Sarastro; a Mother-figure, the Queen of the Night; a Son-Hero, Tamino; and a Daughter-Heroine, Pamina. Dressed in symbolic terms, The Magic Flute portrays all the key stages of a man’s inner psychological development, from the moment of his birth, through his gradual enlightenment, to the point where he is at last consciously whole.
歌剧以年轻的英雄塔米诺王子被一条可怕的蛇猛烈地推上舞台开始。他无助地倒在地上，失去知觉。蛇被三位女士杀死，她们满怀爱意地看着男孩，然后离开去告诉她们的情妇女王他的到来。塔米诺醒来后发现自己身处一个完全陌生的世界。他遇到的第一个人是浑身羽毛的捕鸟者帕帕吉诺。塔米诺透露，他的父亲是一位伟大的国王，统治着“许多土地和人民”。但现在这一切似乎都很遥远，他对帕帕吉诺感到困惑，帕帕吉诺似乎对自己的父母是谁，也不知道自己来自哪里一无所知；只是他“靠吃喝”为生，通过捕捉鸟类并将它们献给这个国家的神秘统治者来获得食物，
The opera begins with the young hero, Prince Tamino, being propelled violently onto the stage by a terrifying serpent. He falls helpless and unconscious to the ground. The serpent is killed by three ladies who look down at the boy adoringly and leave to tell their mistress, the Queen, of his arrival. Tamino then wakes up and finds himself in a wholly unfamiliar world. The first person he meets is the strange figure of the bird-catcher Papageno, covered in feathers. Tamino discloses that his father is a great king who rules over ‘many lands and peoples’. But all this now seems very far away, and he is baffled by Papageno who seems to know nothing of who his own parents are, or where he comes from; merely that he lives ‘by eating and drinking’ and that he obtains his food by catching birds and presenting them to the mysterious ruler of this country, the Queen of the Night, whom he has never seen but who rewards him by giving him all he needs.
到目前为止，我们所看到的是塔米诺，作为一个普通人，正在演绎他降生到这个世界的过程。最初，他像任何新生婴儿一样失去知觉，但像任何婴儿出生时一样，他被那些确保他安全抵达的快乐女性包围着。然后，他清醒过来，再次像任何婴儿一样，发现他进入的这个新世界是由自然和本能主宰的。帕帕吉诺的角色将这一点具体化，他将自己描述为“自然之子”。在整个故事中，他代表了一个与鸟类和动物几乎没有什么不同的人的不加思考的、本能的存在，并且不渴望更高的意识或理解状态。他只是依靠“女王”来满足他的所有需求，就像动物本能地依赖“大自然”一样。但塔米诺的命运却截然不同。
What we have seen so far is Tamino, as Everyman, enacting his birth into the world. Initially unconscious, like any newborn baby, he is surrounded, like any baby at its birth, by the joyful female presence of those who have assured his safe arrival. He then emerges to consciousness to find, again like any baby, that this new world he has entered is dominated by nature and instinct. To personify this is the role of Papageno, who describes himself as ‘a child of nature’. Throughout the story he represents the unthinking, instinctive existence of someone very little different from the birds and animals, and who aspires to no higher state of consciousness or understanding. He simply depends on ‘the Queen’ to supply all his needs, as an animal depends instinctively on ‘Mother Nature’. But Tamino’s destiny is to be very different.
此时，三位女士回来告诉塔米诺，他们神秘的女王对他很满意，并且有一项艰巨的任务要他执行。她有一个美丽的女儿，帕米娜公主。他们向塔米诺展示了她的照片，塔米诺立即被爱所迷住（“哦，图像，天使般美丽，没有凡人可以与你相比”）。然后，随着三声雷鸣，女王亲自出现，告诉塔米诺她心爱的女儿是如何被“邪恶的恶魔”绑架的。帕米娜落入了可怕的萨拉斯特罗的魔掌，塔米诺的任务是将她从囚禁中解救出来。然后女王消失了，但她的女士们向塔米诺展示了魔笛，以帮助他完成任务，魔笛具有将人类的激情从黑暗转变为光明的力量（“当这种力量被发挥出来时，所有人类的激情都会转变”） ,
At this point the three ladies return to tell Tamino that their mysterious Queen is pleased with him and has a great task for him to perform. She has a beautiful daughter, the Princess Pamina. They show Tamino her picture, and he is at once smitten with love (‘O image, angel-like and fair, no mortal can with thee compare’). Then, with three rolls of thunder, the Queen herself appears and tells Tamino how her beloved daughter has been abducted by an ‘evil fiend’. Pamina has fallen into the clutches of the terrible Sarastro, and it is Tamino’s task to release her from this imprisonment. The Queen then vanishes, but her ladies present Tamino, to aid him in his task, with the magic flute, which has the power to transform human passions from dark to light (‘whene’er this power is asserted, all human passions are converted, the saddest man to smile will learn, the coldest heart with love will burn’).
到目前为止，神秘、仁慈的女王的威严形象似乎是故事中最轻松的人物。作为一位慈爱的母亲，她是塔米诺生命中女性气质的主要代表，她通过在塔米诺的心中播下对阿尼玛的渴望，唤醒了他内心的女性气质。——人物帕米娜，他比世界上任何人都更渴望她。像许多年轻的英雄一样，塔米诺发现自己享受着与“母亲”的良好关系，但他意识到，为了使他完整，有一天他必须与自己的女性“另一半”结合；她在一个残暴的男性的残酷魔掌中日渐衰弱。因此，黑暗之父成为塔米诺未来的主要阴影。在即将到来的巨大考验中，他唯一的护身符就是魔笛本身，它象征着自我将黑暗变成光明的至高无上的力量。
So far the imposing figure of the mysterious, kindly Queen seems the most light figure in the story. As a loving Mother she is the chief representative of the feminine in Tamino’s life, and she has awoken his own inner feminine by sowing in his heart the desire for the anima-figure Pamina, whom he yearns for more than anything in the world. Like many young heroes, Tamino thus finds himself enjoying a good relationship with ‘Mother’ but aware that, to make him complete, he must one day be united with his own feminine ‘other half’; and that she languishes in the grim clutches of a tyrannical male. Thus does the Dark Father enter as the main shadow over Tamino’s future; and his only talisman in the great ordeal which lies ahead is the magic flute itself, as a symbol of the sovereign power of the Self to turn darkness into light.
塔米诺决心前往暴君的巢穴挑战他，并与帕帕吉诺失散。然后我们第一次看到可爱的帕米娜，并惊恐地意识到她即将被萨拉斯特罗的仆人、阴暗的摩尔人莫诺斯塔托斯残酷地蹂躏。关键时刻，帕帕吉诺的介入救了她，帕帕吉诺向她讲述了塔米诺和他对她的爱。与此同时，塔米诺本人接近萨拉斯特罗的黑暗神庙并要求进入。“这就是萨拉斯特罗的恐怖领域吗？” 他在门口问道。有人告诉他这是一座“智慧的寺庙”，但他并不相信。他大声喊道，他永远憎恨萨拉斯特罗，因为他是“人类的暴君和敌人”。
Tamino sets off full of resolve to challenge the Tyrant in his lair and is separated from Papageno. We then for the first time see the lovely Pamina, and realise with horror that she is about to be brutally ravished by Sarastro’s servant, the shadowy Moor, Monostatos. In the nick of time she is saved by the intervention of Papageno, who tells her about Tamino and his love for her. Meanwhile Tamino himself approaches Sarastro’s dark temple and demands entry. ‘Is this Sarastro’s realm of terror?’ he demands at the door. He is told that it is a ‘temple of wisdom’, but does not believe it. He shouts that he hates Sarastro for ever, as ‘a tyrant and foe of men’.
此时，故事中“黑暗男性气质”的阴影达到了顶峰。我们已经看到女主角即将被“黑暗男性”莫诺斯塔托斯侵犯，他代表了“自然人”的阴暗面，就像帕帕吉诺代表了他的光明面一样。事实上，目前，是本能善良的帕帕吉诺的冲动干预拯救了她。但帕米娜仍然是莫诺斯塔托斯更可怕的主人萨拉斯特罗的囚犯，而塔米诺本人，当他站在神庙门口时，甚至相信她一定已经死了。
At this point the shadow of the ‘dark masculine’ over the story reaches its height. We have seen the heroine about to be violated by the ‘dark masculine’ Monostatos, who represents the dark side of ‘natural man’ just as Papageno represents his light aspect. Indeed, for the moment, it is the impulsive intervention of the instinctively good-hearted Papageno which saves her. But Pamina is still a prisoner of Monostatos’s far more terrible master Sarastro, and Tamino himself, as he stands at the temple gate, even believes that she must be already dead.
现在发生了戏剧性的逆转，赋予了这个故事非凡的心理深度。在这部歌剧中最动人的音乐时刻之一，来自寺庙内的“神秘声音”向他保证她还活着。“她还活着，她还活着。”他几乎难以置信地宽慰地喊道。音乐传达了生命重新涌入他体内的感觉。在他最绝望的时刻，我们可以感觉到赋予生命的阿尼玛在他体内激荡（就像贝多芬的费德里奥），我们看到绝望的囚犯弗洛雷斯坦在黑暗的地牢中欣喜地复活，他难以置信地感觉到他的“天使利奥诺拉”的存在）。渐渐地，神庙里令人敬畏的气氛开始让人怀疑萨拉斯特罗是否就是他所描绘的完全黑暗的人物。然后，在赞美他智慧的庄严合唱声中，我们第一次见到了萨拉斯特罗本人。帕米娜跪倒在他的脚下，乞求怜悯并允许她回到母亲身边。但萨拉斯特罗坚定地解释说，为了她好，他不能释放她。如果他把她留给了她母亲，“真理和正义会变成什么样子？” 夜女王“太骄傲了”。你的路线必须由人来决定。因为女人独自一人就会超出她的范围并被误导。
Now comes the dramatic reversal which gives this story its extraordinary psychological profundity. In musically one of the most moving moments of the opera, ‘mysterious voices’ from within the temple assure him that she is still alive. ‘She lives, she lives’ he exclaims in almost disbelieving relief; and the music conveys the sense of life flooding back into him. At his moment of greatest despair we can feel the life-giving anima stirring within him (much as, in Beethoven’s Fidelio, we see the despairing prisoner Florestan joyfully returning to life when, in the gloom of his dungeon, he disbelievingly senses the presence of his ‘angel Leonora’). Gradually the awe-inspiring air of the temple is beginning to sow doubts that Sarastro is quite the figure of total darkness he has been painted. Then, heralded by a solemn chorus in praise of his wisdom, we for the first time meet Sarastro himself. Pamina throws herself at his feet, begging for mercy and to be allowed to return to her mother; but Sarastro firmly explains he cannot release her, for her own good. If he had left her with her mother ‘what would become of truth and right?’ The Queen of the Night is ‘all too proud. By man your course must be decided. For by herself a woman steps beyond her sphere and is misguided.’
这就是故事的关键。萨拉斯特罗所说的是，要实现人类真正的完整性，仅靠本能的女性价值是不够的。它必须得到加强、约束，并通过男性价值赋予理性理解的坚实框架：这是达到真正智慧和更高意识的唯一途径。到目前为止，我们已经看到女性价值至高无上，因为塔米诺处于熟悉的位置，即与母亲所代表的女性价值接近，而对父亲所代表的男性价值充满敌意。但现在必须纠正这种平衡。塔米诺必须充分认识到他的男子气概。因此，他现在开始将萨拉斯特罗所代表的男性价值观视为光明，因为萨拉斯特罗成为父亲形象和智慧老人，引导他实现自己的目标。与此同时，夜女王，代表无意识依赖本能的自然世界，在故事的其余部分中转变为主要的黑暗人物；因为她现在代表着婴儿期的依赖状态，如果塔米诺想要达到真正的自我认识和自主，他必须摆脱这种依赖状态。这就是第二幕也是最后一幕的主题。
This is the crux of the story. What Sarastro is saying is that, to bring about true human wholeness, the instinctive feminine value on its own is not enough. It must be strengthened, disciplined, given a firm framework of rational understanding by the masculine value: this is the only way that true wisdom and higher consciousness can be reached. Up to now we have seen the feminine value uppermost, as Tamino is in the familiar position of closeness to the feminine value represented by the Mother and hostility to the masculine values represented by the Father. But now the balance has to be redressed. Tamino has to realise his full masculinity. He therefore now begins to see the masculine values represented by Sarastro as light, as Sarastro becomes the Father-figure and Wise Old Man guiding him to his goal. Meanwhile the Queen of the Night, representing the natural world of unconscious dependence on instinct, switches over to become the chief dark figure through the rest of the story; because she now stands for the infantile state of dependence which is the chief thing Tamino has to escape from if he is to reach real self-knowledge and autonomy. Such is the theme of the second and final act.
为了强调这一点，第二幕几乎完全由塔米诺和帕帕吉诺之间的对比主导。萨拉斯特罗给他们设置了一系列的考验，以证明他们的坚定性和自制力。塔米诺每次都成功地通过考验，成为一个真正的男人。另一方面，代表自然本能冲动的帕帕吉诺却惨遭失败。他没有自律，因此永远不会达到任何真正的理解或更高的意识状态；尽管他最终以自然的方式得到了回报，得到了一点点长着羽毛、性情善良的“另一半”帕帕吉纳，就像他自己一样。他们唯一的共同想法是，按照自然的方式，繁殖并把几十个小帕帕吉诺和帕帕吉纳斯带到这个世界上。6
To emphasise this, Act Two is almost entirely dominated by the contrast between Tamino and Papageno. Sarastro has set them a series of tests to prove their steadfastness and self-control. On each occasion Tamino passes the test triumphantly, emerging as a true man. Papageno, on the other hand, representing the instinctive impulsiveness of nature, fails miserably. He has no self-discipline and therefore never comes to any real understanding or higher state of consciousness; even though he is eventually rewarded, in the way of nature, with a little feathered and good-natured ‘other half’, Papagena, just like himself. And their only joint thought, in the way of nature, is to reproduce and to bring into the world dozens of little Papagenos and Papagenas.6
但对于塔米诺来说，一个截然不同的命运正在等待着，因为他代表着真正超越自然状态的人，达到一个人可以渴望的最高境界。当我们看到他通过一系列的磨难而精炼成一个坚强、严肃、自律的人物，完全忠于他所奉献的伟大的超越自我的事业时，他终于与他的帕米娜结合在一起。他们一起经历了最后的考验，火与水的对立，表明他们已经超越了所有对立并达到了完全统一的状态：不仅仅是像帕帕吉诺和帕帕吉纳那样在本能层面上，而是在对他们的与创造本身的看不见的奥秘结合。塔米诺终于达到了圆满的智慧境界。
But for Tamino a very different destiny is in store, because he represents man who has truly risen above the state of nature, to the very highest state a man can aspire to. As we see him refined by his series of ordeals into a strong, austere, self-disciplined figure, entirely true to the great ego-transcending cause to which he has dedicated himself, he is at last united with his Pamina. They go through the final ordeal, the opposites of fire and water, together, showing that they have transcended all opposites and achieved a state of total unity: not just on an instinctive level, like Papageno and Papagena, but in full conscious understanding of their union with the unseen mystery of creation itself. Tamino has at last attained to the full state of wisdom.
此时，在黑暗中的岩石景观中，我们看到了自然的黑暗力量，夜女王现在与莫诺斯塔托斯结盟，准备对智慧神殿进行最后一次可怕的攻击。在一场大风暴的肆虐中，我们看到它们陷入毁灭。萨拉斯特罗的神庙在黑暗中以“太阳神庙”的形式重新出现，他本人也唱道“太阳的光辉征服了黑夜，黑暗的力量屈服于光明”。长笛的神奇音符最终引导我们到达了有意识实现的自我的完美形象。
At this point, in a rocky landscape in the darkness, we see the dark forces of nature, the Queen of the Night now allied with Monostatos, preparing to make their last terrifying assault on the Temple of Wisdom. Amid the raging of a great storm we see them plunging to destruction. Out of the darkness Sarastro’s temple reappears as ‘the Temple of the Sun’ and he himself sings ‘the sun’s radiant glory has vanquished the night, the powers of darkness have yielded to light’. The magical notes of the flute have finally led us up to a perfect image of the consciously-realised Self.
尽管《魔笛》像哑剧一样的俏皮方式很容易被误导，但这却忽略了这部歌剧构建的心理微妙之处。具有象征意义的是，它找到了一种独特巧妙的方式来涵盖典型家庭戏剧中“母亲”和“父亲”的光明和黑暗方面，因为它呈现了一个男人从出生起走完人类内在发展的完整道路的光辉故事。才能完全成熟。
Although it may be easy to be misled by the playful way The Magic Flute comes over almost like a pantomime, this is to miss the psychological subtlety with which the opera is constructed. Symbolically it finds a uniquely ingenious way to encompass both the light and dark aspects of ‘Mother’ and ‘Father’ in the archetypal family drama, as it presents such a luminous account of a man travelling the full road of inner human development, from birth to complete maturity.
在本书的第二部分中，我们将重点放在讲故事的中心戏剧上，因为它展开了最积极的结论。但是，无数的故事却是这种模式的例外？结果并不那么令人高兴或那么确定？
In this second part of the book we have concentrated on the central drama of storytelling as it unfolds to its most positive conclusion. But what of those countless stories which are exceptions to this pattern; where the outcome is nothing like so happy or so certain?
现在我们必须转向讲故事的另一面：考虑所有那些以某种方式表现出男女主人公未能达到中心目标的故事类型。在这里我们将看到，这些故事远非完全不同类型的故事，而是完全植根于我们一直在关注的同一个中心戏剧。没有什么比故事始终如一的一致性更能揭示支配人类想象中故事形成方式的无意识规则了。
We must now turn to the other face of storytelling: to consider all those types of story which show the hero or the heroine in one way or another not managing to reach the central goal. Here we shall see that, far from being a different kind of story altogether, such stories are rooted in precisely the same central drama we have been looking at. Nothing is more revealing of the unconscious rules which govern the way stories take shape in the human imagination than their unfailing consistency.
第20章
致命缺陷
Chapter 20
The Fatal Flaw
“砍掉的是本来可以完全笔直生长的树枝。”
‘Cut is the branch that might have grown full straight.’
马洛《浮士德博士》
Marlowe, Doctor Faustus
我们通过再次回顾悲剧的情节来结束本书的第二部分。在我们在第一部分中看到的七个地块中，有一个显然是个奇怪的人。六自然会带来幸福的结局。只有悲剧似乎站在讲故事的对立面，因为它让中心人物孤独、暴力地死去。但是，当我们在最近几章中出现的所有内容的背景下回到它时，我们可以从一个相当不同的角度来看待悲剧中真正发生的事情。
We end this second part of the book by looking again at the plot of Tragedy. Of the seven plots we looked at in Part One, one stood very obviously as the odd man out. Six lead naturally to a happy ending. Only Tragedy seems to stand at the opposite pole of storytelling, as it brings its central figure to a lonely, violent death. But when we return to it in the context of all that has emerged in recent chapters, we can see what is really going on in a Tragedy in a rather different light.
是什么让悲剧的男女主人公如此无情地走向灾难？第一个有意识地提出这个问题的人是古希腊人。他们坚信神话中所有伟大的悲剧人物都有深刻的共同点。他们称之为傲慢，我们通常将其解释为一种过度的骄傲，一种鲁莽的傲慢。但傲慢的字面意思是来自“hyper”这个词，意思是“结束”。它意味着“跨越界限”，是对宇宙秩序的蔑视，是最终将宇宙维系在一起的完美平衡状态（体现在德尔菲阿波罗神庙上写着的座右铭“没有过度”，希腊世界最神圣的地方）。根据同样的平衡规则，任何扰乱它的事物最终都会在平衡和秩序状态恢复时遭到猛烈的冲击。狂妄自大的不可避免的后果是“nemesis”（涅墨西斯），它的词根nemein是“分配应有的部分”，与nomos（“法律”）的词根相同。从字面上看，复仇女神是当宇宙秩序因傲慢行为而失衡时恢复平衡所需的“应有部分”。
What is it that brings the hero or heroine of a Tragedy so inexorably to catastrophe? The first people consciously to ask this question were the ancient Greeks; and they had no doubt that all the great tragic figures in their mythology had something profoundly in common. They called it hubris, which we usually interpret as a form of overweaning pride, a reckless arrogance. But the literal derivation of hubris was from the word hyper, meaning ‘over’. It meant a ‘stepping over the bounds’, a defiance of the cosmic order, that state of perfect balance which ultimately holds the universe together (characterised in the motto ‘nothing in excess’, written up over the temple of Apollo at Delphi, the most sacred spot in the Greek world). By the rule of that same balance, anything which disturbed it would eventually meet with a violent shock as the state of balance and order was restored. The inevitable consequence of hubris was nemesis, from the root nemein, to ‘allot a due portion’, the same root from which sprang nomos, ‘law’. Literally, nemesis was the ‘due portion’ required to restore the equilibrium of the cosmic order when it had been unbalanced by an act of hubris.
但希腊人比这更进一步，为悲剧英雄为何必然遭遇最终灾难的问题提供了一般性答案。正如亚里士多德在《诗学》中的一段著名段落中所说，悲剧的男女主人公——普罗米修斯、俄狄浦斯、美狄亚、阿伽门农、克吕泰涅斯特拉——首先应该成为傲慢的牺牲品，这是有特定原因的。亚里士多德说，悲剧英雄或女主人公的本质是，他们不能表现得完全是好或坏，而是必须表现出他们是通过某种“致命的缺陷”从“繁荣走向苦难”的。希腊语中的这个词是hamartia，字面意思是“未击中目标”，因为箭没有射中目标。悲剧英雄的致命缺陷女主角或女主角的性格或意识上的缺陷阻碍了他们“达到目标”。1
But the Greeks went further than this in providing a general answer to the question of why the tragic hero must come to ultimate disaster. As Aristotle put it in a famous passage in the Poetics, there was a specific reason why the heroes and heroines of tragedy – Prometheus, Oedipus, Medea, Agamemnon, Clytemnestra – should fall prey to hubris in the first place. The essence of a tragic hero or heroine, said Aristotle, is that they must not be shown as wholly good or bad, but that they must be shown as being brought from ‘prosperity to misery’ through some ‘fatal flaw’. And the Greek word for this was hamartia, which means literally ‘missing the mark’, as an arrow fails to reach its target. The fatal flaw in the tragic hero or heroine is that deficiency in their character or awareness which prevents them from ‘reaching the goal’.1
换句话说，这些悲剧中心人物的“致命缺陷”本质上是使他们无法“成功”，我们使用这个词有两种含义。第一个意思只是“成功”，如实现任何类型的目标。但我们也更准确地使用这个词来指人们继承父母、继承遗产、一代人继承或继承另一代人。通过故事，我们可以看到我们对这个词的两种用法最初是如何合一的。那些在生活中真正“成功”的人是那些在两种意义上都取得成功的人：他们达到了生活的中心目标，即真正的成熟，因为他们发展到可以在一代又一代的继承中发挥适当作用的程度。
In other words, the very nature of the ‘fatal flaw’ in these central figures of tragedy is that it is something which renders them unable to ‘succeed’, a word we use in two senses. The first means simply ‘to be successful’, as in reaching a goal of any kind. But we also use the word more precisely in the sense of people succeeding to their parents, succeeding to an inheritance, one generation following or succeeding to another. And through stories we can see how originally our two uses of the word were one. Those who truly ‘succeed’ in life are those who succeed in both senses: they reach the central goal of life which is true maturity, as they develop to the point where they can play their proper role in the succession of one generation to another.
简而言之，悲剧英雄或女主人公的本质是，他们因某些致命的缺陷或弱点而无法达到完美的平衡状态，而故事将这种状态呈现为人类存在的最高目标。他们注定达不到目标，因为在某种程度上他们陷入了不完整或不成熟的状态。
The essence of the tragic hero or heroine, in short, is that they are held back by some fatal flaw or weakness from reaching that state of perfect balance which is presented by stories as the supreme goal of human existence. They are doomed to fall short of the goal because in some way they are stuck in a state of incompleteness or immaturity.
伊卡洛斯神话就是一个简单的例子。我们看到代达罗斯，在他光明的方面是理想的智慧父亲，告诉他的儿子，为了保住生命，他必须保持完美的平衡状态。他必须精确地保持在对立面之间，既不能飞得太高也不能太低，因为任何一个都会导致灾难。但这个不成熟的男孩却被他的自私所带入不平衡和片面的境地。由于拥有飞翔的能力而自高自大，他陷入了傲慢的状态，宇宙的骄傲是自我中心的本质。狂妄自大违背了支配宇宙万物及其所有部分相互关联的平衡和比例的最高法则。自我意识对自然法则的维持框架的局限性而蒙蔽了双眼，与他所属的整体不和谐，伊卡洛斯鲁莽地飞得太靠近太阳，他的翅膀脱落，然后他又坠入昏迷和死亡的海洋。从任何意义上来说，他都是“无法长大的男孩英雄”。
A simple example of this is seen in the myth of Icarus. We see Daedalus, in his light aspect as the ideal wise Father, telling his son that in order to hold onto life he must keep in a state of perfect balance. He must keep precisely between the opposites, by flying neither too high nor too low, because either will lead to disaster. But the immature boy is carried away by his egotism into imbalance and one-sidedness. Puffed up by his power to fly, he falls into the state of hubris, the cosmic pride which is the essence of egocentricity. Hubris defies the supreme law of balance and proportion which governs everything in the universe, and the inter-relatedness of all its parts. Blinded by the limitations of ego-consciousness to the sustaining framework of the laws of nature, out of harmony with the totality of which he is a part, Icarus recklessly flies up too near the sun, his wings fall off, and he plunges back into the sea of unconsciousness and death. In every sense he is ‘the boy hero who cannot grow up’.
因此，伊卡洛斯的故事可以被视为悲剧精神的纯粹升华。但当然，悲剧事件通常是在更社会的背景下发生的。事实上，我们看到它们恰恰植根于我们现在熟悉的原型家庭戏剧中的同一个基本人际关系网络。现在是时候看看悲剧的模式如何与我们在过去几章中看到的中心戏剧直接相关。
The story of Icarus might thus be regarded as a pure distillation of the spirit of Tragedy. But usually, of course, the events of Tragedy are set in a more social context. Indeed we see them rooted in precisely that same web of basic human relationships with which we are now familiar, in the archetypal family drama. The moment has come to see how the patterns of Tragedy relate directly to the central drama we have seen emerging in the last few chapters.
为了理解悲剧中发生的事情的本质，我们必须回顾自我的两个伟大原则，它们引导光明英雄实现最终目标。他必须表现出完美的平衡。首先，他必须坚强，在积极的男性意义上，这赋予他对自己的主权和对他人的适当权威。正是这一点，让他最终继承了“王国”。其次，他必须对女性开放：将他与外部世界以及对他人的感情联系起来的女性。也正是这一点，让他最终能够和女主角彻底的结合在一起。正是这些因素之间的平衡使他最终能够实现目标。
To understand the essence of what is happening in Tragedy we must recall the two great principles of the Self which guide a light hero to the ultimate goal. He must show himself as perfectly balanced. Firstly he must be strong, in the positive masculine sense which gives him sovereignty over himself and proper authority over others. It is this which enables him at last to succeed to the ‘kingdom’. Secondly he must be open to the feminine: that which connects him with the world outside him and with feeling for others. It is this which enables him at last to be fully united with the heroine. It is the balance between these things which allows him ultimately to reach the goal.
但是，如果英雄不是以自我为中心，而是以自我为中心，会发生什么呢？首先，他的男性力量不是转向内在以让他控制自己和自己的欲望，而是转向外在。它变成了一种以自我为中心的欲望，想要赢得权力，主张自己凌驾于他人之上。其次，他内在的女性气质，也就是将他与他人联系起来的东西，不再以无私、无限的爱来表达，而是变成了自私、排他的激情或情欲之爱。以自我为中心的英雄仍然被实现目标的冲动所驱使：事实上，这就是悲剧英雄的定义，因为他为自己的黑暗欲望找到了焦点。当我们观察他的目标的本质时，我们就会发现它总是与外在的对应。通往以自我为中心的英雄的道路。他可能希望赢得权力，统治一个“王国”，就像麦克白或理查三世一样。他可能会强烈地渴望与一个痴迷的“另一半”结合在一起，比如亨伯特·亨伯特或唐璜。但由于他出于自我中心的原因想要实现自己的目标，拼图不再拼凑在一起。
But what happens if a hero remains centred not in the Self but on the ego? Firstly, his masculine strength, instead of being turned inward to give him control over himself and his appetites, is turned outward. It becomes merely an egocentric desire to win power, to assert himself over others. Secondly, his inner feminine, that which connects him to others, instead of expressing itself in selfless, unbounded love, turns into the selfish, exclusive love of passion or erotic desire. The egocentric hero is still driven by the urge to reach a goal: indeed this is the very definition of the tragic hero, as he finds the Focus for his dark desires. And when we look at the nature of his goal we see how it invariably corresponds in an outward way to that of the hero who is centred in the Self. He may wish to win power, to rule over a ‘kingdom’, like Macbeth or Richard III. He may feel the overwhelming urge to be united with an obsessively desired ‘other half’, like Humbert Humbert or Don Giovanni. But because he wants to achieve his goal for egocentric reasons the jigsaw no longer fits together.
这就是悲剧的真正含义。它向我们展示了英雄或女英雄试图以错误的方式实现目标。由于这个“致命缺陷”，他们无法成功。事实上，悲剧向我们展示了我们所熟悉的一切，以一种幸福结局的故事类型，但以一种相反的形式。光明英雄被吸引到他的最终目标，并最终通过光明男性和光明女性之间的平衡而获得解放。黑暗英雄被黑暗男性和黑暗女性所附身并被吸引。他没有以正确的方式看待整个世界，而是被吸引着颠倒地看待世界，通过那种将光明变成黑暗，将黑暗变成光明的黑暗颠倒：因此，他最明显反对的人正是那些代表他应该在自己身上实现的那些自我价值观。简而言之，我们在悲剧中看到的是导致完整性的模式的完全逆转。如果我们回想起光明英雄必须采取的基本行动才能将他带入自我，我们就可以看到悲剧的情节如何以消极的形式展示他们中的每一个。
This is what Tragedy is really about. It shows us the hero or heroine trying to achieve the goal but in the wrong way. Because of that ‘fatal flaw’ they are unable to succeed. In fact Tragedy shows us everything we have become familiar with in the type of story which comes to a happy ending, but in an inverted form. The light hero is drawn up to his ultimate goal and finally liberated, by a balance between light masculine and light feminine. The dark hero is possessed and drawn downwards by the dark masculine and the dark feminine. Instead of seeing the world whole, the right way up, he is drawn into seeing it upside down, by that dark inversion which turns light into dark and dark into light: so that the people he is most obviously turned against are the very people who represent those values of the Self which he should be realising in himself. What we see in Tragedy, in short, is an exact reversal of the pattern which leads to wholeness. And if we recall the essential moves the light hero has to make to bring him to the Self, we can see how the plot of Tragedy shows each of them in a negative form.
光明英雄面临着一系列黑暗人物中的一个或多个，即“影子家族”，他必须抵抗或克服他们，才能完全进入光明。他必须逃离代表“黑暗女性”的黑暗母亲的魔掌；他必须战胜代表“黑暗男性”的黑暗之父；然后，他可能必须以黑暗对手和黑暗另一半的形式再次克服这些挑战——直到最后，以正确的方式面对每一个考验，他才能达到最高的目标。他可以与他的“光明的另一半”——阿尼玛完全结合，并继承王国。
The light hero is confronted by one or more of a series of dark figures, the ‘shadow family’, whom he must resist or overcome in order to emerge fully and wholly into the light. He must escape the clutches of the Dark Mother, representing the ‘dark feminine’; he must overcome the Dark Father, representing the ‘dark masculine’; he may then have to overcome each of these challenges again, in the shape of the Dark Rival and the Dark Other Half – until finally, having confronted each test in the right way, he can reach the supreme goal. He can be fully united with his ‘light other half’, the anima, and succeed to the kingdom.
在《悲剧》中，我们看到了这种情况的完全颠倒。当悲剧英雄面对“黑暗女性”（或诱惑者，代表着男性伪装的“黑暗女性”）时，他没有抵抗：他屈服了，并在其阉割咒语下致命地倒下。即使他的男性力量确实出现，也只能是“黑暗男性”的低等形式，迫使他无情地追求权力和统治他人。正如我们之前看到的，有一组熟悉的人物，他们最有可能是悲剧英雄堕落过程中的主要受害者：
In Tragedy we see a complete inversion of this scenario. When the tragic hero is confronted by the ‘dark feminine’ (or by the Tempter, who represents the ‘dark feminine’ in masculine guise), he does not resist: he succumbs, and falls fatally under its emasculating spell. If his masculine strength does emerge, it can only be in the inferior form of the ‘dark masculine’, compelling him to the loveless pursuit of power and domination over others. And as we saw earlier, there is then a familiar set of light figures who are most likely to be the tragic hero’s chief victims on his downward course:
（1）首先是好老人，我们现在可以将他视为“光明之父”或“好国王”，代表着成熟和积极的男性权威：这正是英雄应该在自己身上实现的东西；
(1) first there is the Good Old Man, whom we can now see as the ‘light Father’ or ‘good King’, representing mature and positive masculine authority: the very thing the hero should be realising in himself;
(2) 然后是“轻度对手”或“轻度另一个自我”，他们在某种程度上与英雄相对应，如年龄、地位或情况，但在英雄消极的地方，他是积极的，因此他的“光对立面”；
(2) then there is the ‘light Rival’ or ‘light Alter-Ego’, who corresponds to the hero in some way, as in terms of age, status or situation, but who is positive where the hero is negative, and thus his ‘light Opposite’;
（3）首先是天真无邪的年轻女孩，他的“好天使”或“光明的另一半”，代表着“光明女性”的最高价值：除了在悲剧中她没有足够强大或发展良好来影响英雄并把他带回光明。她是我们将看到的人物，英雄本人还没有完全发展，作为“不充分的”或“婴儿阿尼玛”。
(3) above all there is the Innocent Young Girl, his ‘Good Angel’ or ‘light Other Half’, representing the supreme value of the ‘light feminine’: except that in Tragedy she is not sufficiently powerful or well-developed to sway the hero and turn him back towards the light. She is the figure whom we shall see, where the hero himself is not fully developed, as the ‘inadequate’ or ‘infantile anima ’.
没有什么比悲剧英雄面对这些光影中的任何一个或依次面对他们时的方式更能说明悲剧英雄内心精神崩溃的过程了，他要么杀死他们，要么残酷地拒绝他们。每次他这样做，他实际上就是在扼杀或拒绝自己的这一方面。因此，他仍然被锁定在软弱、不成熟的英雄的基本处境中，被黑暗女性所迷惑，无法成长。他打开了他的心灵王国的一个又一个组成部分，熄灭了光明，直到黑暗最终杀死了他的灵魂，他陷入了毁灭。
Nothing more tellingly reflects the course of the tragic hero’s inward spiritual disintegration than the way, when he is confronted by any of these light figures, or each of them in turn, he either kills or brutally rejects them. Each time he does so, he is in effect killing or rejecting that aspect of himself. Thus does he remain locked into the basic situation of the weak, immature hero, bewitched by the dark feminine, who cannot grow up. He turns on one component of his psychic kingdom after another, extinguishing the light, until the darkness finally kills his soul and he plunges to destruction.
正如我们之前所看到的，喜剧在某种意义上是最全面的“轻松”情节，因为它可以用来涵盖复杂过程中的所有或任何不同的线索，从而使典型的家庭剧得出适当的轻松结论。同样，悲剧涵盖了如此广泛的故事，因为它可以以多种不同的方式反过来反映同一个复杂的过程，每个单独的故事都对同一基本整体模式的不同方面给予自己的重视。这就是为什么喜剧和悲剧在讲故事中占据如此特殊的地位，因为它们的所有情节都能够最全面地呈现原型戏剧的光明和黑暗方面。
As we saw earlier, Comedy is in a sense the most comprehensive of the ‘light’ plots because it can be used to encompass all or any of the various strands in the complex process whereby the archetypal family drama is brought to its proper light conclusion. Similarly Tragedy encompasses such a varied range of stories because it can reflect in so many different ways the same complex process in reverse, each individual story giving its own emphasis to different aspects of the same basic overall pattern. This is why Comedy and Tragedy have occupied such a special place in storytelling, because of all the plots they are the most all-encompassing in their ability to present the light and dark aspects of the archetypal drama.
现在是时候再次审视我们之前考虑过的悲剧情节所塑造的一些截然不同的故事，看看这些原则如何在实践中发挥作用。
The time has come to look again at some of the very different stories shaped by the plot of Tragedy we considered earlier, to see how these principles work in practice.
麦克白：无人的强者
Macbeth: The strong man unmanned
因为，根据定义，所有悲剧英雄都有致命的弱点，所以没有那么多悲剧向我们展示一个英雄，至少在表面上，最初似乎在男性方面很坚强，是一个成功的男人领袖，在社会中快乐。行使权力。这种英雄的一个明显例子是麦克白。
Since, by definition, all tragic heroes suffer from a fatal weakness, there are not all that many tragedies which show us a hero who, at least outwardly, seems initially to be strong in masculine terms, a successful leader of men, happy in the exercise of authority. An obvious example of such a hero is Macbeth.
在戏剧的一开始，我们看到麦克白是一位常胜将军，显然是一位与世界融为一体的强者。然而，在这男子气概的外表背后，一切并不像看上去的那样。甚至在麦克白出现之前，我们就已经看到，三个“黑暗的午夜女巫”在黑暗中等待着他，她们拥有神秘的力量和知识，是内在“黑暗女性”的化身，而这将是他的垮台。从他们“超越光明”的黑暗、劣等领域，他们抓住了麦克白隐藏的弱点，激发了他的野心和自我。现阶段，上层世界的王国在邓肯和他忠诚的将军麦克白的统治下，仍然是光明的。黑暗皆在下等境界。事实上，一开始麦克白倾向于驳斥女巫的预言，即他有一天可能自己成为国王。就好像一个诱人的想法从他的无意识中浮现出来，却被他的意识推开，因为它太不可能被认真对待。但后来，麦克白在写给妻子的信中几乎是不经意地把这种感染传染给了妻子：通过她，黑暗女性的毒药又回来了，对他的诱惑更加强烈，削弱了他的男子气概和礼节感。渐渐地，他屈服于诱惑，尽管并非没有挣扎。即使在致命行为——杀死“好国王”邓肯——的边缘，麦克白仍在与自己的灵魂搏斗。但一旦这桩可怕的事情发生，他就像许多其他悲剧英雄一样，立即被卷入进一步的罪行，试图掩盖第一个罪行——从谋杀熟睡的新郎开始。作为一个外表坚强的男人，现在内心却处于黑暗女性的掌控之中，
At the beginning of the play we see Macbeth as a victorious general, apparently a strong man at one with the world. Behind this manly facade, however, all is not as it seems. Even before Macbeth appears, we have already seen, lying in wait for him in the darkness, the three ‘black and midnight hags’, with their occult powers and knowledge, personifications of the inner ‘dark feminine’ which is to be his downfall. From their dark, inferior realm ‘beyond the light’, they catch Macbeth on his hidden weak spot, arousing his ambitions and his ego. At this stage the upper world kingdom, under the rule of Duncan and his loyal general Macbeth, is still light. The darkness is all in the inferior realm. Indeed at first Macbeth is disposed to dismiss the witches’ prophecy that he might one day be king himself. It is as though a tempting thought had floated up from his unconscious, only to be pushed away by his conscious mind as too improbable to be taken seriously. But then, almost casually, in a letter to his wife, Macbeth passes the infection on: and through her the poison of the dark feminine returns to tempt him much more strongly, sapping his manly will and sense of propriety. Gradually he succumbs to the temptation, although not without a struggle. Even on the verge of the fatal act, the killing of the ‘good King’ Duncan, Macbeth is still wrestling with his soul. But once the awful deed is done, he is immediately drawn, like many another tragic hero, into further crimes in an attempt to cover up the first – beginning with the murder of the sleeping grooms. As an outwardly strong man now inwardly in the grip of the dark feminine, Macbeth is already turning into a ‘dark King’ or Tyrant.
此时，黑暗力量已经在上层占据了统治地位，将王国纳入了掌控之中。潜在的光明势力——邓肯的儿子马尔科姆和多纳尔本逃亡到英国——开始极化到低等或阴影领域。渐渐地，班柯从日益增长的黑暗中脱颖而出，成为麦克白的“轻敌”：他的将军战友，女巫们承诺，他的后代有一天会取代麦克白登上王位。随着班柯的怀疑日益加深，麦克白猛烈攻击并杀死了他的“光明的另一个自我”。结果是，王国中仍然存在的最有权势的人物麦克德夫抛弃了麦克白，逃往英格兰与马尔科姆会合，成为麦克白新的、更具威胁性的“轻度对手”或“轻度对手”。
At this point the dark power has passed into dominance on the upper level, taking the kingdom into its grip; and the potential light forces – Duncan’s sons Malcolm and Donalbain fleeing into exile into England – are beginning to be polarised into the inferior or shadow realm. Gradually Banquo emerges from the growing darkness as Macbeth’s ‘light Rival’: his fellow general whose descendants, the witches promised, would one day occupy the throne instead of Macbeth. As Banquo’s suspicion grows, Macbeth lashes out and kills his ‘light Alter-Ego’. The result is that the most powerful figure still remaining in the kingdom, Macduff, abandons Macbeth and flees to join Malcolm in England, as Macbeth’s new, much more menacing ‘light Rival’ or ‘light Opposite’. The hero’s only response is to lash out in even greater desperation by ordering the killing of Lady Macduff and her children.
麦克白现已犯下三项重大罪行。首先，作为掠食者，他杀死了“好国王”。其次，作为浩德法斯特，为了保住自己的地位，他杀死了‘光明对手’。第三，作为复仇者，他杀死了“光明女性”和圣婴。我们现在看到，作为最终转变的触发因素，三法则如何能够向下和向上发挥作用。消灭了他的上层王国的所有主要光元素——或者将他们驱赶到下层领域作为流亡者——麦克白的第三次黑暗行为使他陷入了噩梦阶段。首先，他必须眼睁睁地看着他的“另一半”麦克白夫人因疯狂而崩溃，直至“尘土飞扬”。其次，现在他已经与自我不可挽回地隔绝了，他自己也进入了黄昏，他认为宇宙和生命完全没有意义，“毫无意义”。最后，光明势力——由如今高耸入云的麦克达夫和注定要继承王位的儿子马尔科姆领导——重新出现在上层王国，入侵苏格兰并逼近，永远消灭了麦克白的生命。
Macbeth has now committed three major crimes. First, as Predator, he has killed the ‘good King’. Second, as Holdfast, to secure his position, he has killed the ‘light Rival’. Thirdly, as Avenger, he has killed the ‘light feminine’ and the Child. We now see how, as the trigger to final transformation, the Rule of Three can work downwards as well as upwards. Having killed off all the chief light components of his kingdom on the upper level – or driven them into the inferior realm as exiles – Macbeth’s third dark act precipitates him into the Nightmare Stage. Firstly he has to watch powerless as his ‘other half’, Lady Macbeth, disintegrates through madness to ‘dusty death’. Secondly, now irretrievably cut off from the Self, he himself moves into a twilight where he sees the universe and life as utterly meaningless, ‘signifying nothing’. Lastly the forces of light – led by the now-towering figure of Macduff, and the son-king Malcolm who is destined to succeed – re-emerge into the upper realm, by invading Scotland and closing in to extinguish Macbeth’s life forever.
浮士德博士：弱者无人
Dr Faustus: The weak man unmanned
浮士德的故事是关于他那个时代最聪明的人的故事，他因学问而享有盛誉，直到以下时刻：
The story of Faustus is that of the most brilliant man of his age who gained a great reputation for learning until the moment when:
'充满狡猾和自负，
‘swol’n with cunning, of a self conceit,
他的蜡色翅膀确实超出了他的能力范围，
his waxen wings did mount above his reach,
融化了，上天密谋推翻他。
and melting, heaven conspir’d his overthrow.’
超级知识分子浮士德不像麦克白那样身体强壮，也不是男人的领袖。从男子气概上来说，他本质上是软弱的。他所拥有的这样的实力，全都是在意念之中。但是，浮士德由于抽象思辨和争论的生活而与同胞隔绝，他对无限的力量和知识的渴望油然而生，这样“安静的两极之间移动的所有事物都将听从我的指挥”。他所梦想的，作为对自己弱点的补偿，是男性价值的两个方面：权力和知识。但他希望它们只是为了满足他的自我并在世界面前维护自己。浮士德身上没有任何根深蒂固的女性特征可以将他与其他人或他之外的世界现实联系起来。在缺乏光明女性的地方，只剩下黑暗女性的真空。诱惑者梅菲斯特穿过这个虚空，向他提供了一个危险的交易，一个全能和全知的幻想，以换取他的灵魂。“善天使”与“恶天使”之间争夺英雄灵魂的战斗一结束，人们就开始清楚地意识到，浮士德被赋予的力量只不过是空洞的幻想，比如被允许玩耍对教皇的愚蠢不敬的伎俩，作为“圣父”象征性地是自我的一个方面。
The super-intellectual Faustus is not physically powerful or a leader of men, like Macbeth. In manly terms he is essentially weak. Such strength as he has is all in the mind. But, cut off from his fellow men by his life of abstract speculation and disputation, the desire creeps up on Faustus for limitless power and knowledge, so that ‘all things that move between the quiet poles shall be at my command’. What he dreams of, in compensation for his weakness, are the two aspects of the masculine value, power and knowledge. But he desires them only to gratify his ego and to assert himself against the world. There is no sign in Faustus of the rooting feminine that might connect him with other people or with the reality of the world outside himself. And where the light feminine is lacking, only the vacuum of the dark feminine remains. Through this void the Tempter Mephistopheles enters to offer him the treacherous bargain, a fantasy of omnipotence and omniscience in return for his soul. No sooner has the battle between the ‘Good Angel’ and the ‘Evil Angel’ for the hero’s soul been lost, than it begins to become clear that the powers Faustus has been given are nothing more than empty illusions, such as being allowed to play silly irreverent tricks on the Pope, who as the ‘Holy Father’ is symbolically an aspect of the Self.
最后，浮士德产生了他的最高愿望，要与有史以来最美丽的女人特洛伊的海伦做爱。她出现，他梦想她是他不朽的“另一半”，他的阿尼玛–“亲爱的海伦，用一个吻让我永垂不朽”。但当他亲吻她时——“她的嘴唇吸走了我的灵魂，看看它飞向哪里”。剧中最著名的台词“就是这张脸发射了一千艘船，烧毁了伊利乌姆的裸露塔楼”，已经警告我们，海伦不是一个轻浮的人物，而是可怕的妖妇，引诱男人参战。和破坏。他们短暂而空洞的做爱一结束（一位“聪明的老人”过来宣布浮士德的厄运），英雄就坚定地陷入了噩梦阶段，此时他意识到一切都已经无法挽回了。他即将付出地狱永恒惩罚的代价。
Finally Faustus conceives his supreme desire to make love to the most beautiful woman who ever lived, Helen of Troy. She appears and he dreams that she is his immortal ‘other half’, his anima – ‘Sweet Helen, make me immortal with a kiss’. But when he does kiss her – ‘her lips suck forth my soul, see where it flies’. The most famous lines of the play, ‘was this the face that launched a thousand ships, and burn’t the topless towers of Ilium’, have already warned us that Helen is no light figure but the terrible Temptress, luring men on to war and destruction. And no sooner is their brief, empty love-making over (with a ‘wise old man’ coming on to pronounce Faustus’s doom) than the hero is plunged firmly into the Nightmare Stage, when he realises that all is now irretrievably lost. He is about to pay the price of eternal punishment in hell.
杰基尔博士和海德先生：幻想的自我
Dr Jekyll and Mr Hyde: the fantasy self
《杰基尔与海德》故事的非凡名气在于它以令人难忘的生动方式体现了悲剧英雄的另一个普遍特征，即他转向外部世界的令人尊敬的、看似轻松的角色与隐藏的“低级自我”之间的分裂。 ’代表了人类的畸形状态，当它不是以自我为中心而是以自我为中心时。所有悲剧英雄和女英雄都表现出这种分裂的某种版本，但在《化身博士》和《海德先生》中它成为故事的中心主题。关于海德先生的要点在于，我们没有被告知太多关于他的特殊罪行：他只是被描绘成一个可怕的、完全以自我为中心的生物，他没有界限，没有顾忌，他的唯一动机是在蔑视中满足自我。自我的所有价值观。海德是“自我自我”或“幻想自我”的化身，是不受约束的自我与自我分离并反对光明时的本质。
The extraordinary fame of the Jekyll and Hyde story rests on the unforgettably vivid way in which it exemplifies another general characteristic of the tragic hero, which is the split between the respectable, seemingly light persona he turns to the outer world and the hidden ‘lower self’ representing the deformed state of humanity when it is centred not on the Self but on the ego. All tragic heroes and heroines display some version of such a split, but in Dr Jekyll and Mr Hyde it becomes the central theme of the story. The point about Mr Hyde is that we are not told a great deal about his particular sins: he is merely portrayed as a monstrous, totally egocentric creature who knows no bounds, feels no scruples, whose sole motivation is the gratification of the ego in flouting all the values of the Self. Hyde is a personification of the ‘ego self’ or ‘fantasy self’, the essence of the untrammelled ego when it is split off from the Self and turned against the light.
最初，只要可敬的杰基尔博士保留了他的权力，只要他愿意，他就可以切换回他的外在或上层世界角色，海德只在夜间秘密出现，隐匿在下等境界中与世隔绝。但杰基尔越是屈服于他的幻想自我，就像任何悲剧英雄一样，它就越开始接管他的整个人格，威胁要出现在外部世界中。当杰基尔进入挫折阶段时，他孤注一掷地试图逃离幻想中的自我，将药物锁起来，并试图留在他的杰基尔自我中。但是，当安娜·卡列尼娜在悲剧循环的类似阶段试图放弃渥伦斯基并回到她的丈夫身边时，毒药已经深深地进入了杰基尔的系统。他最终变得虚弱，在最后一段不可挽回的时间里屈服于药物，并回到了他的海德自我。“我的恶魔早已被关在笼子里，他出来时咆哮着。”
Initially, so long as the respectable Dr Jekyll retains his power to switch back whenever he wishes into his outer or upper world persona, Hyde only emerges in secret, at night, hidden away from the world in the inferior realm. But the more Jekyll gives way to his fantasy self, again like any tragic hero, the more it begins to take over his whole personality, threatening to emerge into the outer world. As Jekyll enters the Frustration Stage, he makes a last desperate bid to escape from his fantasy self by putting the drug under lock and key and trying to remain in his Jekyll-self. But, as when Anna Karenina at a similar stage in the tragic cycle tries to give up Vronsky and return to her husband, the poison has already entered too deeply into Jekyll’s system. He eventually weakens, succumbs to the drug for a last irrevocable time and returns to his Hyde-self. ‘My devil had long been caged, he came out roaring.’
这就引出了整个故事的中心事件，最早是由一位年轻的女仆描述的，她有一天晚上坐在窗边望着窗外。“她从未像现在这样对所有男人感到如此平静，或者对世界如此友善”。她看到街上出现了“一位白发的年长而美丽的绅士”，我们后来得知他是一位德高望重的国会议员丹弗斯·卡鲁爵士。我们在这里看到，在天真的年轻女孩和好老人的并置中，明智的老人和阿尼玛的胚胎星座，自我的双胞胎象征将永远躲避杰基尔。令女孩惊恐的是，她看到畸形生物海德从阴影中出现，野蛮地用棍棒将老人打死。这起谋杀案是最后的黑暗行为。从此杰基尔发现自己完全失去了控制；他越来越无助地陷入海德自我中，直到当他意识到海德已经完全接管的那一刻，他自杀了。
This leads to the central incident of the whole story, first described by a young maid who had been sitting one evening looking out of her window. ‘Never had she felt more at peace with all men or thought more kindly of the world’. She sees coming down the street ‘an aged and beautiful gentleman with white hair’, whom we later learn is a venerable and respected MP Sir Danvers Carew. We see here, in the juxtaposition of the Innocent Young Girl and the Good Old Man, an embryonic constellation of the Wise Old Man and the Anima, twin symbols of the Self which is about to elude Jekyll forever. To her horror the girl sees the deformed creature Hyde emerge from the shadows and bludgeon the old man savagely to death. This murder is the final dark act. From then on Jekyll finds that he has completely lost control; he slips more and more helplessly into his Hyde-self until, at the moment when he realises that Hyde has taken over completely, he commits suicide.
洛丽塔：婴儿的阿尼玛
Lolita: The infantile anima
亨伯特·亨伯特（Humbert Humbert）（与“骗子”双重呼应）是分裂英雄的另一个版本，他表面上受人尊敬的学术学者形象，和隐藏的幻想自我，由他对青春期前小女孩的色情、白日梦迷恋所驱动。洛丽塔是最著名的例子之一在“婴儿阿尼玛”的文学中，一种不发达的或在某种程度上不充分的“另一半”，其存在总是表明英雄并不完全是一个男人，并且与母亲有着未解决的联系。
Humbert Humbert (with double echoes of ‘humbug’) is another version of the divided hero, split between the outwardly respectable persona of the scholarly academic and the hidden fantasy self driven by his erotic, daydreaming obsession with pre-pubescent little girls. Lolita is one of the most celebrated instances in literature of the ‘infantile anima’, an underdeveloped or in some way inadequate ‘other half’ whose presence always shows that the hero is not fully a man and has an unresolved tie to the Mother.
果然，亨伯特一看到洛丽塔——他所有黑暗白日梦的最高目标——就发生了两件事。首先，为了追求他的痴迷，他娶了她的母亲，她的母亲原来是黑暗母亲，一个空虚、愚蠢、令人窒息的女人，由于亨伯特的冷酷无情，她很快就被粗暴地让开了。他娶她只是为了实现他的真正目标；其次，既然道路已经畅通，我们就看到洛丽塔本人不再是一个纯真的少女，而是一个狂暴的妖妇。就像所有被痴迷驱使的角色一样，亨伯特本质上是软弱的。故事中的所有黑暗角色都是由某种痴迷所定义的。这总是表明，英雄并不完全是一个能控制自己的人，他性格中的某些部分，以自我为中心，但受自己自主意志的驱动，正在牵着他的鼻子走，统治他的一生。同样，无论多么令人满足，任何痴迷都无法达到令人满意的解决方案，因为它与现实和自我的框架不一致。亨伯特对洛丽塔的痴迷不可能得到持久的解决。他不能娶她，因为她未成年，是他的继女；即使有一天她成年了，她也会对他失去魅力。
Sure enough, no sooner has Humbert set eyes on Lolita, the supreme goal of all his dark daydreams, than two things follow. Firstly, in pursuit of his obsession, he marries her mother, who turns out to be the Dark Mother, an empty, silly, suffocating woman who, thanks to Humbert’s callousness, is quickly and violently got out of the way. He has only married her as a front to his real goal; and, secondly, now that the way is clear, we see that Lolita herself is not an innocent young girl but a raging Temptress. Like all characters driven by an obsession, Humbert is fundamentally weak. All dark characters in stories are defined by some sort of obsession. This always shows that the hero is not fully a man, in control of himself, that some component of his personality, ego-centred but driven by an autonomous will of his own, is leading him by the nose, ruling his life. Equally, however often it is gratified, no obsession can ever reach a satisfactory resolution, because it is at odds with the framework of reality and the Self. Humbert’s obsession with Lolita cannot possibly come to a lasting resolution. He cannot marry her because she is under-age and his stepdaughter; and even if she did one day come of age, she would have lost her charms for him.
因此，我们看到了奸诈、迷人、自私的小洛丽塔如何以最令人沮丧的方式代表了黑暗女性的所有可能方面。她同时：
We thus see how the treacherous, bewitching, egotistical little Lolita represents in the most frustrating possible way all the possible aspects of the dark feminine. She is simultaneously:
(a) “婴儿阿尼玛”；
(a) the ‘infantile anima’;
(b) 妖妇；
(b) the Temptress;
(c) 在背景中她与黑暗母亲有关；
(c) in the background she is related to the Dark Mother;
（d）她甚至是故事中非常罕见的人物，黑暗的孩子，一个不承诺新生活的希望，而只承诺对生命力量的挫败和否认的孩子。
(d) she is even that very rare figure in stories, the Dark Child, a child who promises not the hope of new life but only the frustration and denial of the forces of life.
随着亨伯特的痴迷与日俱增，洛丽塔也开始从他身边溜走，他的挫败感也在恶性循环中加剧。因此，她还变得：
As Humbert’s obsession grows, so, heightening his frustration in a vicious spiral, does Lolita begin to slip away from him. She thus becomes in addition:
(e)“难以捉摸的阿尼玛”。
(e) the ‘elusive anima’.
最后，故事中唯一的另一个重要人物开始神秘地出现在人们的视野中，他是黑暗对手奎尔蒂，他有着与亨伯特本人完全相同的痴迷。阴暗而险恶的奎尔蒂是亨伯特幻想中自我的投射。当亨伯特最终因嫉妒而发疯时，他在一场漫长而漫长的冷暴力疯狂中追踪并杀死了他的对手，他实际上是在自杀。他被捕，不久后因心脏病在监狱中去世。
Finally the only other figure of importance in the story begins to come mysteriously into view, Quilty, the Dark Rival, in the grip of exactly the same obsession as Humbert himself. The shadowy, menacing Quilty is a projection of Humbert’s own fantasy self. And when, eventually driven mad by jealous loathing, Humbert tracks down and kills his Rival in a long drawn out frenzy of cold violence, he is in effect killing himself. He is arrested and shortly afterwards dies in prison of a heart attack.
在这四个故事中，我们看到了弱者、悲剧英雄在幻想状态下所追求的一系列目标：
In these four stories we have seen the range of goals the weak, tragic hero is after in his state of fantasy:
（1）对于麦克白和浮士德来说，重点是他们对凌驾于他人之上的权力的渴望：男性对主权的渴望的黑暗倒置；
(1) for Macbeth and Faustus the emphasis is on their desire for power over others: the dark inversion of the masculine urge to sovereignty;
（2）对亨伯特来说，就像后来对浮士德来说一样，它是对与“另一半”性爱结合的渴望，一种对占有的渴望：与女性结合的冲动的黑暗反转，这是性的本质。无私的爱；
(2) for Humbert, as it later becomes for Faustus, it is on the urge for erotic sexual union with the ‘other half’, a desire for possession: the dark inversion of the urge to union with the feminine which is the essence of selfless love;
(3) 对于杰基尔博士来说，通过他的幻想自我海德，更普遍的特征是，以牺牲他之外的世界上的一切和每个人为代价，追求以自我为中心的满足的无限欲望。这是实现自我的驱动力的黑暗倒置，它代表着相反的状态，一种与整个世界有意识地爱的统一的状态。
(3) for Dr Jekyll, through his fantasy self Hyde, it is more generally characterised as an unbounded desire for egocentric gratification at the expense of everything and everyone in the world outside him. This is the dark inversion of the drive to realisation of the Self, which stands for the opposite, a state of conscious loving unity with all the world.
现在我们将再次简要地看一下第 8 章中的其他故事，看看每个故事如何以自己的方式反映这些暗反转的基本规则。
We shall now look again, briefly, at the other stories in Chapter 8, to see how each reflects in its own way these basic rules of the dark inversion.
《道林·格雷的画像》向我们展示了一个美丽的、完全自私的年轻人的外在形象，他希望永远不会变老（即永远长大），而他的肖像所代表的隐藏的幻想自我之间的分裂。诱惑者领主亨利为软弱、虚荣的年轻英雄屈服于自己的幻想提供了线索，就像他阴暗的梅菲斯特一样，英雄因此成为黑暗女性和黑暗男性的混合体，与光明、完整的男人完全相反。 。
The Picture of Dorian Gray shows us the split between the outward persona of a beautiful, completely egotistical young man who wishes never to grow older (i.e., never to grow up) and his hidden fantasy self, represented by the portrait. The cue for the weak, vain young hero to succumb to his fantasy is provided by the Tempter Lord Henry and, like his shadowy Mephistopheles, the hero thus becomes an amalgam of dark feminine and dark masculine, the complete opposite of a light, whole man.
与海德一样，格雷在开始放荡的感官生活时犯下的大部分罪孽都只是被暗示，尽管所有的罪孽都暗示，涉及对爱情人际关系的无情和破坏性的蔑视。但特别是三集的描述更为明确。第一个中心是阿尼玛不足-西比尔·万恩的人物，格雷迷恋的女演员。格雷只喜欢她作为一个幻想人物，因为她在舞台上塑造了各种“活跃的”莎士比亚女主角罗莎琳德、波西娅、比阿特丽斯的形象；当她试图向他展示真实的自己时，他冷酷地拒绝了她，她自杀了。他的堕落之路的第二步清晰可见，是他可敬的老朋友巴兹尔·霍尔沃德（Basil Hallward）试图用他正在成为的恐怖来面对格雷，巴兹尔霍尔沃德是一个轻松的父亲形象。格雷以特别可怕和故意的方式谋杀了他。最后一个出现在格雷意识边缘的人物是“光明对手”吉姆·文恩，他是真正爱着西比尔的兄弟（尽管他现在因复仇的欲望而变得阴暗而阴暗）。维恩在一栋乡间别墅中神秘遭枪击，格雷正在调情地享受着一位年长的女人的倾慕，他的女主人是蒙茅斯公爵夫人，只有她似乎对格雷的可怕罪行和残酷名声根本不担心。他实际上已经消灭了阿尼玛，父亲和光明的另一个自我：作为一个不想长大的小男孩英雄，他真正喜欢的唯一关系是与一个溺爱、内心无情、强大的年长女人，黑暗母亲。最后，在自怜的噩梦阶段，格雷对那幅遭到可怕破坏的肖像发怒并刺伤了它，就像亨伯特谋杀了他的幻想自我一样。就像亨伯特和杰基尔博士一样，英雄的幻想自我现在是他所剩下的一切，而在杀死它的过程中，格雷也自杀了。
As with Hyde, most of Gray’s sins as he embarks on a life of sensual debauchery are only hinted at, although all, it is implied, involve a heartless and destructive flouting of loving human relationships. But three episodes in particular are described more explicitly. The first centres on the inadequate anima-figure of Sibyl Vane, the actress with whom Gray becomes infatuated. Gray loves her only as a fantasy figure, for the image she creates on stage in the role of various ‘active’ Shakespearean heroines, Rosalind, Portia, Beatrice; when she tries to show him the reality of herself he coldly rejects her, and she commits suicide. The second step in his downward course brought clearly into view is the attempt by his honourable older friend, Basil Hallward, a light Father-figure, to confront Gray with the horror of what he is becoming. Gray murders him in particularly gruesome and deliberate fashion. The last figure to emerge, on the edge of Gray’s consciousness, is the ‘light Rival’, Jim Vane, the brother who truly loved Sibyl (although he has now turned dark and shadowy in his desire for vengeance). Vane is mysteriously shot at a country house, where Gray is basking flirtatiously in the admiration of an older woman, his hostess the Duchess of Monmouth, who alone seems fundamentally unworried by Gray’s horrible misdeeds and cruel reputation. He has, in effect, killed off the anima, the Father and the light Alter-Ego: the only relationship he really enjoys, as the little boy hero who does not want to grow up, is with a doting, inwardly heartless, powerful older woman, the Dark Mother. Finally, in the Nightmare Stage of self-pity, Gray turns in rage on the hideously ravaged portrait and stabs it, like Humbert murdering his fantasy self. As with Humbert and Dr Jekyll, the hero’s fantasy self is now all that is left of him, and in killing it Gray has killed himself.
接下来我们看的三个例子都是关于软弱无能的年轻英雄被妖妇摧毁的简单故事。
The next three examples we looked at were all straightforward stories of weak and inadequate young heroes being destroyed by a Temptress.
在《卡门》中，我们最初看到的英雄是一名士兵，幸福地爱上了无辜的米凯拉。但唐·何塞在他军人般的外表下并不是一个真正的男人，而她只是一个不足的小阿尼玛-数字。没过多久，当妖妇/黑暗母亲卡门的气势让弱小英雄陷入盲目迷恋时，真正的问题就暴露了。在她的迷人咒语下，唐·何塞很快就与上流的男性世界隔绝了，他成为了军队的逃兵，并陷入了由酒馆、吉普赛人和强盗团伙组成的危险、令人陶醉的低等领域。这里隐约出现了斗牛士埃斯卡米洛的形象，代表了唐·何塞从未有过的男子气概，他取代了唐·何塞，成为了妖妇/黑暗母亲的情敌。最后一次拒绝了他幼稚的阿尼玛米凯拉、唐·何塞陷入无能为力的噩梦的最后阶段，软弱、自怜、完全孤独。在最后一次绝望的尝试中，他猛烈攻击并杀死了摧毁他的黑暗母亲，但这样做实际上他自杀了。
In Carmen we initially see the hero as a soldier, happily in love with his innocent Micaela. But behind his soldierly exterior Don José is no real man, and she is only an inadequate little anima-figure. It does not take long for the real problem to be exposed when the imposing figure of the Temptress/Dark Mother Carmen sweeps the weak little hero off his feet into blind infatuation. Under her bewitching spell Don José is soon cut off from the upper, masculine world, as he becomes a deserter from the army and sinks down into the treacherous, intoxicating inferior realm of taverns, gypsies and bandit gangs. Here there looms up the figure of Escamillo, the toreador, representing the masculinity which Don José never had, who supplants him as a Rival in the Temptress/Dark Mother’s affections. Having for the last time rejected his infantile anima, Micaela, Don José sinks into the final stages of impotent nightmare, weak, self-pitying, totally alone. In a last desperate bid to free himself he lashes out and kills the Dark Mother who has destroyed him, but in doing so he has in effect killed himself.
在《雌雄大盗》中，男主人公是一个软弱无能的年轻人，被女主人公引诱，女主人公是妖妇和婴儿阿尼玛的结合体。，进入他的偷窃、谋杀和枪支生活，以取代他未实现的男子气概。故事的中心情节是，他们抓住了一名代表男性权威的警察，并围着他跳舞嘲笑他（就像浮士德捉弄“圣父”一样）。当挫败感变成噩梦时，他们和邦妮的母亲去野餐时出现了一个短暂的、病态的多愁善感的插曲——这又是幻想中的母亲形象，她会忽视他们所有顽皮的罪行，并梦想着和她一起逃回快乐的世界。 ，不负责任的纯真童年里一切都会好起来的。但现在，严酷的男性世界正在逼近，警察网在他们周围收紧，代表着他们一直在反抗中冻结的天父价值观。最终他们被他们中间的父亲形象背叛了，
In Bonnie and Clyde, the hero is a weak, sexually impotent young man lured by the heroine, a combination of Temptress and infantile anima, into his life of stealing, murder and guns as a substitute for his unrealised masculinity. The central episode of the story is when they capture a policeman, representing masculine authority, and dance round taunting him (like Faustus playing tricks on the ‘Holy Father’). As frustration turns to nightmare, there is a brief, sickly-sentimental episode when they go for a picnic with Bonnie’s mother – again the fantasy Mother-figure who will overlook all their naughty crimes and with whom they can dream of escaping back to the happy, irresponsible innocence of childhood where everything will be all right. But now the stern masculine world is closing in, as the police net tightens around them, representing the values of the Father against which they have been frozen in rebellion. Eventually they are betrayed by the Father-figure in their midst, the father of their accomplice C. W. Moss with whom they have taken refuge, and the police shoot them down.
《朱尔斯和吉姆》的主人公是两个无能、迷人、软弱的年轻人，他们无法长大，并成为迷人的妖女凯瑟琳的牺牲品。在她的带领下，他们喜欢把自己想象成孩子，在“乡村的白宫”玩耍，凯瑟琳的黑暗母亲隐藏在“难以捉摸的阿尼玛”的外表后面’他总是在他们面前跳舞，总是遥不可及。但慢慢地，他们的世界变得黑暗——尤其是通过第一次世界大战中黑暗男性价值观的暴力入侵——他们逐渐陷入噩梦，无法理解，永远不会变得有男子气概、负责任或理解任何事情。吉姆做了最后一次可怜的尝试，想要挣脱束缚，与妻子和孩子过上正常的成人生活，但毒害已经太深了。最后，黑暗心能将他拖入毁灭的漩涡，留下朱尔斯独自一人，仍然不解地盯着他们的灰烬。
The heroes of Jules et Jim are two feckless, charming, weak young men who cannot grow up, and who fall prey to the bewitching Temptress Catherine. Led on by her in the Dream Stage they like to imagine themselves as children, playing ‘at the white house in the country’, with the Dark Mother in Catherine concealed behind the facade of an ‘elusive anima’ who is always dancing on before them, always just out of reach. But slowly their world darkens – not least through the violent irruption of dark masculine values in the First World War – and they are gradually sucked down into nightmare, uncomprehending, never becoming manly or responsible or understanding anything. Jim makes a last pitiful attempt to break loose and to live a normal, grown-up life, with a wife and child – but the poison has entered too deep. Finally the dark anima drags him down into the whirlpool of destruction, leaving Jules all alone, staring still uncomprehendingly at their ashes.
在《安娜·卡列尼娜》和《包法利夫人》这两个极其相似的故事中，我们从女主人公的角度看到了同样的悲剧模式。这些女主人公中的每一位最初都嫁给了一个既不完全是男人，也不具有内在女性气质的男人。在每种情况下，在上层世界或外部世界，女主人公都与一个不充分的阿尼姆斯形象，其必然结果是她自己内在的女性能量没有被激活并开始变得黑暗。在每种情况下，女主人公都会秘密地爱上一个幻想的阿尼姆斯人物，这个人物似乎代表了她们丈夫所不具备的一切（梦想舞台）。渥伦斯基看上去既坚强又敏感。艾玛的幻想-阿尼姆斯首先分为男性化但麻木不仁的鲁道夫，然后是非男性化但敏感的莱昂。在每种情况下，在幻想-阿尼姆斯的魔咒下故事中，女主人公首先失去了与受人尊敬的上层世界的联系，代表了社会秩序的外在男性价值（沮丧阶段），然后被拉入低等领域，在那里她开始失去理智，失去了她的精神秩序（噩梦阶段）。越来越多的人都被一个可怕的畸形小男性生物——农民和乞丐——的噩梦所困扰，这代表了她内心敌意的真实状态。在每一个案例中，当女主人公不可挽回地与自己内在的女性气质失去联系，可怕地摧毁了自己时，畸形的阿尼姆斯——象征着她的“致命缺陷”——在她永远陷入无意识之前的最后有意识的时刻笼罩在她的脑海中。
In those two remarkably similar stories Anna Karenina and Madame Bovary, we see the same tragic pattern from the heroine’s point of view. Each of these heroines is initially married to a man who is neither fully a man nor alive to the inner feminine. In each case, in the upper or outer world, the heroine is thus joined to an inadequate animus-figure, with the corollary that her own inner feminine is not brought alive and begins to turn dark. In each case the heroine then falls secretly for a fantasy animus-figure who seems to represent everything their husbands are not (the Dream Stage). Vronksy is seemingly both strong and sensitive. Emma’s fantasy-animus divides into, firstly, the masculine but insensitive Rodolphe, then the unmasculine but sensitive Leon. In each case, under the spell of the fantasy-animus, the heroine first loses contact with the respectable upper world, representing the outward masculine value of social order (Frustration Stage) and then is drawn down into the inferior realm where she begins to lose her reason, her mental order (Nightmare Stage). Increasingly each is haunted by the nightmare vision of a horrible little deformed male creature – the peasant and the beggar – representing the true state of her inner animus. In each case as the heroine, having irrevocably lost touch with her own inner feminine, horribly destroys herself, the deformed animus – symbolising her ‘fatal flaw’ – looms up over her final conscious moments before she plunges into unconsciousness forever.
接下来我们看了两个故事，《安东尼与克利奥帕特拉》和《唐璜》，就悲剧性的“幻想周期”而言，这两个故事始于挫折阶段，此时英雄的问题终于完全显而易见。在每个故事中，英雄问题的根源都是相同的——他无法与女性成熟地建立联系——但它以完全相反的方式表达出来。
We next looked at two stories, Antony and Cleopatra and Don Giovanni, which in terms of the tragic ‘fantasy cycle’ begin in the Frustration Stage, when the hero’s problem is at last completely obvious. In each of these stories, the root of the hero’s problem is the same – his inability to relate maturely to the feminine – but it expresses itself in precisely opposite ways.
在安东尼这位成功的将军身上，我们又回到了英雄的形象，从男性的角度来看，他似乎已经完全成熟了。但作为一名坚强的军人，片面地靠男性价值观生活，他从未充分认识或整合自己内在的女性气质；根据法律，我们最终会与尚未实现的黑暗版本发生冲突，安东尼因与克利奥帕特拉的会面而被拉向了他心灵的另一面、未开发的一面。当将他分开的两根杆子终于完全而痛苦地显现出来时，我们见到了安东尼。他在男性的“罗马自我”和妖妇柔软、阉割的拥抱之间左右为难，妖妇是黑暗女王，周围环绕着她的女人和太监，以母性的方式统治着埃及的“低等王国”。在上层罗马世界，随着戏剧的开始，主人公的“另一半”是奥克塔维亚，他的未婚妻是他的竞争对手奥克泰维斯的妹妹。但她是一个不合格的人阿尼玛，因为她不够女性化，无法吸引安东尼到她身边。这不是基于爱情的婚姻，而是基于巩固社会和政治秩序的需要（即基于男性价值观）。奥克塔维亚恪守罗马男性美德，她自己也过于阳刚——这就是为什么安东尼被吸引回到克利奥帕特拉温柔、纵容的母亲世界。但一旦死局已定，一旦他不可挽回地放弃了不足的奥克塔维亚和罗马的男性力量，我们就会看到安东尼越来越陷入黑暗女性的奸诈劳作中，失去了他的战士般的男性判断力和纪律，失去了坚定的能力。领导力，他对自己和他人的男子气概的主权，直到最后他和控制他的黑暗母亲都被摧毁了。
In Antony, the successful general, we return to the image of a hero who, in masculine terms, seems fully developed. But as a tough soldier, living one-sidedly by masculine values, he has never fully realised or integrated his inner feminine; and by the law which dictates that we eventually fall foul of the dark version of that which has not been realised, Antony has been pulled over by his meeting with Cleopatra onto the opposite, undeveloped side of his psyche. We meet Antony when the two poles pulling him apart are at last fully and painfully evident. He is torn between his masculine ‘Roman self’ and the soft, emasculating embraces of the Temptress, the Dark Queen surrounded by her women and eunuchs, ruling maternally over the ‘inferior realm’ of Egypt. In the upper Roman world, as the play begins, the hero’s ‘other half’ is Octavia, his intended wife, the sister of his rival Octavius. But she is an inadequate anima because she is not feminine enough to draw Antony to her. This is not a marriage based on love but on the need to cement the social and political order (i.e., based on a masculine value). With her stern devotion to the male Roman virtues, Octavia is herself over-masculine – which is why Antony is drawn back to the soft, indulgent mother-world of Cleopatra. But once the die is cast, once he has irrevocably abandoned the inadequate Octavia and the masculine strength of Rome, we see Antony slipping more and more into the treacherous toils of the dark feminine, losing his soldierly masculine judgement and discipline, his capacity for firm leadership, his manly sovereignty both over himself and others, until finally he and the Dark Mother who has unmanned him are both destroyed.
安东尼的问题是，因为他无法完全意识到他的阿尼玛，他被强迫性地拉回到黑暗母亲身边。唐璜或唐璜的故事呈现了我们文化中最熟悉的范例，英雄试图以相反的方式解决相同的基本问题。唐璜的强迫症是寻找无尽的幻想阿尼玛人物，这些人物只存在于他自己的脑海中，因为一旦他在性方面征服了他们并且他的自我得到了满足，他就会看到现实（就像道林·格雷面对舞台外的现实一样）西比尔·万恩（Sibyl Vane））和他的幻想消失了。就像《安东尼与克利奥帕特拉》中那样《唐璜》的故事开始于主人公经历了漫长的冒险梦想阶段的那一刻，当他似乎摆脱了困境，当他最终意外地遇到了问题的核心时，这将一劳永逸地决定他是否可以回头走向光明，还是无可挽回地走向毁灭。
Antony’s problem is that, because he cannot fully realise his anima, he is drawn obsessively back to the Dark Mother. The story of Don Giovanni or Don Juan presents the most familiar paradigm in our culture of the hero who attempts to solve the same basic problem in the opposite way. Don Giovanni’s compulsion is to find endless fantasy anima-figures who exist only in his own mind, because as soon as he has conquered them sexually and his ego is gratified, he sees the reality (like Dorian Gray confronted by the off-stage reality of Sibyl Vane) and his fantasy evaporates. As in Antony and Cleopatra, the story of Don Giovanni begins at the moment when the hero has been through the long Dream Stage of his adventures, when he seemed to be getting away with it, and when he is at last unexpectedly brought up against the heart of his problem, in a way which will decide once and for all whether he can turn back towards the light or is headed irrevocably for destruction.
歌剧的开场场景展示了唐璜面对两个人物：父亲和女儿：尊敬的父亲形象，代表着积极的男性权威；而作为骑士团长的光荣父亲形象，则代表着积极的男性权威。还有唐娜·安娜，纯洁无邪的阿尼玛。在每种情况下，他的反应都是致命的否定。首先他试图抓住并占有抗议的阿尼玛通过武力。然后，当父亲介入保护她时，英雄杀死了他。从那时起我们就知道唐璜注定要失败了。根据“未实现价值”的法则，他已经消灭了他现在永远不会意识到的两个方面。他永远不会成为一个成熟、全面发展的人；他永远不会发展他内在的女性气质。他是一个极其不成熟的人，永远无法成长——而故事的其余部分则展示了由此带来的不可避免的崩溃。
The opera’s opening scene shows Don Giovanni confronted by two figures, Father and Daughter: the honourable father-figure of the Commendatore, representing positive masculine authority; and Donna Anna, the pure and innocent anima. In each case his response is fatally negative. First he attempts to seize and possess the protesting anima by force. Then, when the father intervenes to protect her, the hero kills him. From then on we know that Don Giovanni is doomed. By the law of the ‘unrealised value’, he has killed off both the aspects of himself which he will never now realise. He will never become a mature, fully-developed man; he will never develop his inner feminine. He is a fatally immature man who can never grow up – and the rest of the story shows the inevitable disintegration that is the consequence.
根据三法则，他在故事中遇到了三个女人。唐娜·安娜（Donna Anna）是一个直率、轻松的阿尼玛形象，他试图侵犯。其次，他遇到了唐娜·埃尔维拉（Donna Elvira），她被他拒绝的阿尼玛（ anima），因此变成了黑暗的女性，一个在世界各地追捕他、一心复仇的泼妇。第三，当他试图引诱漂亮的农家女孩泽琳娜（Zerlina）时，他会回归幻想纯真，这是一个迷人的小婴儿阿尼玛。但唐·璜所反抗的严酷的男性世界，代表着他自己无法肯定的男子气概价值观，正在日益逼近他。最后，在墓地里，他遇到了骑士团长的雕像，黑暗之父的严峻、冰冷的石像。在这里，我们已经从所有这些故事中走了一圈，这些故事首先展示了一个小英雄，他面对黑暗之父，作为英雄有一天会成为一个成熟、坚强的人的未实现的价值。骑士团长的雕像代表了唐璜未能成为的成熟男人的影子版本。他被自己未实现的价值拖入地狱。
By the Rule of Three he encounters three women in the story. Donna Anna, a straightforward, light anima-figure, he attempts to violate. Secondly he meets Donna Elvira, his rejected anima, who has turned in consequence into the dark feminine, the virago who is pursuing him across the world bent on vengeance. Thirdly there is the regression to fantasy-innocence, as he tries to seduce the pretty peasant girl Zerlina, a fetching little infantile anima. But increasingly the stern masculine world against which Don Giovanni is in rebellion, representing the manly values which he cannot make positive in himself, is closing in on him. Finally, in the graveyard, he is confronted by the statue of the Commendatore, the grim, cold, stone image of the Dark Father. Here we have travelled full circle from all those stories which begin by showing a little hero who is confronted by the Dark Father as the unrealised value of the fully-grown, strong man the hero will one day become. The Commendatore’s statue represents the shadowy version of the mature man Don Giovanni has failed to become; and he is dragged down by his unrealised value to hell.
魔鬼队
The Devils
最后，在《魔鬼》中，我们看到了一个故事，它体现了所有这些原则，并添加了一个，使我们对悲剧背后的模式的了解更加完整。陀思妥耶夫斯基的小说以母亲和父亲的形象开始，两者的原型都不够充分。斯塔夫罗金夫人，这位富有、有权势的女继承人，看上去很仁慈、宽容，但前提是她对所有依赖她的人都按自己的方式行事。她的影子里是虚弱可怜的韦尔霍文斯基老先生，她的被阉割的门徒，痴迷地幻想自己年轻时是一个勇敢、叛逆的自由主义者，当时他站起来反对圣彼得堡沙皇及其政府所代表的权力和秩序的男性价值观。换句话说，斯塔夫罗金夫人就是黑暗母亲；维尔霍文斯基先生是“无法成长的英雄男孩”，因为他已步入中年晚期。故事的中心是他们的两个儿子的后果。
Finally, in The Devils, we saw a story which embodies all these principles and adds one more, to make our picture of the pattern behind Tragedy complete. Dostoyevsky’s novel begins with the image of a Mother and a Father, both archetypally inadequate. Mrs Stavrogin, the rich powerful heiress, appears to be kindly and indulgent, but only so long as she gets her own way with all those who are dependent on her. In her shadow is the weak and pathetic old Mr Verkhovensky, her emasculated protegé, obsessively fantasising about his youth as a brave, rebellious liberal when he stood up against the masculine values of power and order represented by the Tsar and his government in St Petersburg. In other words, Mrs Stavrogin is the Dark Mother; Mr Verkhovensky is ‘the boy hero who cannot grow up’ as he decays into late middle age; and the story centres on the consequences for their two sons.
一方面，迷人而神秘的尼古拉·斯塔夫罗金被他专横的母亲宠坏了，失去了父亲。他无法以一种方式成长：他受到对“父亲”世界的奇怪反叛攻击的困扰，就像他突然莫名其妙地咬了镇长的耳朵一样（就像浮士德对教皇一样）。更糟糕的是，因为他无法成为一个真正的男人，内心仍然被与母亲的联系所束缚，他无法正确认识自己内在的女性气质——结果，他首先粗暴地侵犯了玛特廖莎这个小婴儿阿尼玛形象，以这样的方式她自杀了，然后嫁给了残废的玛丽亚，代表了他畸形的阿尼玛，她的死最终将引发故事结束的整个灾难。
On one hand there is charming, enigmatic Nikolai Stavrogin, spoiled by his dominating mother, bereft of a father. He cannot grow up in one way: he is plagued by strange attacks of rebelliousness against the world of ‘Father’, as when he suddenly and inexplicably bites the ear of the town governor (like Faustus with the Pope). Worse, because he cannot become a true man and is still inwardly locked into his tie to Mother, he cannot properly realise his inner feminine – with the result that he first brutally violates the little infantile anima-figure of Matryosha, in such a way that she commits suicide, then marries the crippled Maria, representing his deformed anima, whose death will eventually precipitate the entire catastrophe in which the story ends.
另一方面，彼得·维尔霍文斯基则以另一种方式陷入了不成熟的境地。塑造他性格的主导因素是，他软弱、以自我为中心的父亲没有给他塑造一个坚强、成熟的男子气概的正确典范。因此，他被囚禁在对他父亲叛逆自由主义的一种极端模仿中——幻想着参加一些伟大的集体运动，这场运动将起来并暴力推翻沙皇、政府、整个权力和秩序的统治框架， “父亲”世界的所有象征。但年轻的韦尔霍文斯基无法将自己视为这场运动的领导者：这需要他不具备的男子气概的统治品质。他将自己视为运动背后的“大脑”、运动的组织者。他需要一个主唱，因为他自己缺乏真正的男子气概。这就是他在精神上塑造的“母亲的儿子”斯塔夫罗金的角色，至少在他眼中，他拥有所需的自信、魅力和超凡魅力的个性。
On the other hand, locked into immaturity in another way, is Peter Verkhovensky. The dominant factor in shaping his personality is that he has not been given a proper model of strong, mature manhood by his weak, egocentric father. He has therefore become imprisoned in a kind of extreme parody of his father’s rebellious liberalism – in the fantasy of taking part in some great collective movement which will rise up and violently overthrow the Czar, the government, the entire ruling framework of power and order, all the symbols of the world of ‘Father’. But young Verkhovensky cannot see himself as the leader of this movement: that would require qualities of manly dominance which he does not possess. He sees himself as the ‘brains’ behind the movement, its organiser. He requires a front-man for his own lack of real masculinity; and this is the role in which he mentally casts the ‘mother’s boy’ Stavrogin who, at least in his eyes, has the kind of confidence, charm and charismatic personality required.
然而，维尔霍文斯基在另一个方面无意识地弥补了他个人的男子气概不足。这就是当他在幻想中召唤出一整支想象中的失败者大军，他们将与他一起奋起推翻“父亲”的世界时，他将自己的自我投射到群体的集体自我中， “运动”。
There is another respect, however, in which Verkhovensky unconsciously compensates for his own individual lack of manhood. This is the way in which, as he conjures up in his fantasies that whole imaginary army of underdogs who are going to rise up with him to overthrow the world of ‘Father’, he projects his own ego into the collectivised ego of the group, ‘the movement’.
故事中自我出现的最重要特征之一是，当光明英雄达到他的完整状态时，我们看到他周围的整个社区得到救赎并变得完整。韦尔霍文斯基在这里代表了现实生活中最具破坏性的黑暗倒置形式：公共整体性的驱动力本身以一种黑暗的劣等形式出现，被劫持为集体自我服务。当维尔霍文斯基用他的革命愿景感染他的一小群追随者时，他们所有的个人自我都被融合在一起，并通过自我力量的消极反转而被赋予黑暗能量。他们想象——或者维尔霍文斯基为他们想象——通过摧毁所有现有的腐败社会秩序，这需要一路上发生令人震惊的流血事件和数百万人的死亡。在《群魔》中，这种基于“自我混乱”的集体幻想仅以当地术语进行描述，当它被释放时，在整个城镇中传播混乱和无政府状态，它很快就会演变成一场可怕的灾难，让“正常”重新回归。出现。但在历史上，这种自我力量的黑暗逆转并不仅仅局限于俄罗斯的一个角落。它是为了占有整个国家。正是陀思妥耶夫斯基对 1917 年之前半个多世纪前俄罗斯分崩离析的社会表面下已经起作用的原型力量的直觉洞察，赋予了他的小说如此巨大的预言力量。
One of the most important features of the emergence of the Self in stories is the way in which, as the light hero achieves his state of wholeness, we see the entire community redeemed and brought to wholeness around him. Verkhovensky represents here what, in real life, can become the most destructive form of dark inversion of all: where that drive to communal totality itself appears in a dark inferior form, hijacked into the service of a collectivised ego. As Verkhovensky infects his little group of followers with his revolutionary vision, so all their individual egos are merged and given a dark energy by a negative inversion of the power of the Self. They imagine – or Verkhovensky imagines for them – that by destroying all the existing corrupt social order, they are going to bring Russia in some distant future back to a glorious state of wholeness, even if this requires appalling bloodshed and the deaths of millions along the way. In The Possessed this collective fantasy based on the ‘ego-Self confusion’ is portrayed only in local terms and when it is unleashed, spreading chaos and anarchy through the town, it soon winds to a hideous catastrophe, leaving ‘normality’ to re-emerge. But in history this dark inversion of the power of the Self was not to remain localised in just one corner of Russia. It was to possess the whole country. It was Dostoyevsky’s intuitive insight into the archetypal forces already at work beneath the surface of Russia’s disintegrating society more than half a century before 1917 which gave his novel such immense prophetic power.
我们现在已经看到，所有悲剧的心理根源、所有悲剧英雄的“致命缺陷”最终都是相同的。他们被困在原型戏剧展开的某个阶段，无法前进到自我实现的地步。他们所有人都在某种程度上受到黑暗女性的阻碍，以致他们无法成长。他们无法完全发展自己的男性或女性方面。有些人，比如麦克白或安东尼，似乎在男性方面得到了发展，尽管当考验到来时，他们的黑暗女性气质甚至会拖垮甚至摧毁他们所拥有的男性力量。在我们看过的几乎所有其他例子中，英雄从一开始就明显很弱：一个无法长大的男孩英雄。黑暗女性对她们的控制力越强，
We have now seen how the psychological root of all tragedy, the ‘fatal flaw’ in all tragic heroes and heroines, is ultimately the same. They are stuck at a certain stage in the unfolding of the archetypal drama, in such a way that they cannot move forward to the point of Self-realisation. All of them are in some way held back by the dark feminine, so that they cannot grow up. They cannot develop either the masculine or the feminine aspects of themselves completely. Some, like Macbeth or Antony, may seem to be developed on the masculine side, although when the test comes, their dark feminine drags down and destroys even the masculine strength they possess. In almost every other example we have looked at, the hero is more obviously weak from the start: a boy hero who cannot grow up. And the more the dark feminine asserts its hold over them, the more they are drawn into conflict with the world of ‘Father’, the masculine values of strength, discipline, firmness and self-control which they cannot develop in themselves, and which would be essential for them to achieve the full state of manhood.
因此，悲剧的核心始终是同一个问题；它再次证实了男性和女性价值观的积极发展必须同时进行。英雄不可能是完全的男人、完全的坚强，除非他也是无私的、内在的女性化的。两者如此紧密地相互依存，如果他在这两方面都不是光明的，他就必然在这两方面都变得黑暗。
What lies at the heart of Tragedy therefore is always the same problem; and again it confirms the way in which the positive development of the masculine and feminine values must go together. A hero cannot be fully a man, fully strong, unless he is also selfless, inwardly feminine. So closely interdependent are the two that if he is not light in both respects, he must inevitably become dark in both respects.
我们在以女主人公安娜·卡列尼娜和包法利夫人为中心的故事中也清楚地看到了这一点。正如黑暗英雄内心总是被黑暗女性所占据一样，这些女英雄似乎也是黑暗男性、黑暗阿尼姆斯的受害者。。但事实上，每个人的内心都被黑暗的男性所占据，这使得她在外表上变成了黑暗的女性。安娜和艾玛都是美丽的女人，她们的性格被一种狂暴、狂野、鲁莽的自我中心占据，逐渐将她们与世界隔绝。真正的女性价值观、对他人的感情以及看待整体的能力，从定义上来说不可能是自我中心的。这两位女主人公就这样被黑暗的男性能量切断了与她们内心的女性能量的联系，直到她们体内的一切都变成了黑暗。
We see this just as clearly in the stories centred on a heroine, Anna Karenina and Madame Bovary. Just as the dark hero is always inwardly possessed by the dark feminine, so these heroines appear to be victims of the dark masculine, the dark animus. But the very fact that each is inwardly possessed by the dark masculine turns her outwardly into the dark feminine. Both Anna and Emma are beautiful women whose personalities are taken over by a raging, wild, reckless egocentricity which gradually cuts them off from all the world. The true feminine values, feeling for others and the ability to see whole, cannot by definition be egocentric. Both these heroines are thus cut off by the dark masculine from contact with the feminine within them, until everything in them is dark.
我们在本章中看到的所有例子背后的模式在人类的心灵中是如此根深蒂固，以至于数千年来故事一直在无休止地重复。而且，正如我们所看到的，两者之间没有任何不一致之处。这种模式以及塑造我们所看过的其他类型故事的模式，都表明男女主人公最终找到了通往完整状态的道路，即自我。管理每种类型故事的基本规则是相同的。在每种情况下，自我的宇宙价值观总是最终取得胜利。自我与真我分离时，必然以挫败或毁灭告终。
The pattern behind all the examples we have looked at in this chapter is so engrained in the human psyche that stories have been endlessly repeating it for thousands of years. And, as we have seen, there is nothing inconsistent between this pattern and those which shape the other kinds of story we have looked at, which show the hero or heroine finding their way at last to the state of wholeness which is the Self. The fundamental rules which govern each type of story are the same. In each case the cosmic values of the Self are always ultimately triumphant. The ego, in separating itself from the Self, must always end in frustration or destruction.
但这是否意味着故事只能按照某些预先设定的规则来讲述？为什么讲故事的人只能根据这些“规则”想象故事？为什么“自我价值观”总是胜利呢？如果讲故事的人有意识或无意识地与这些特定的价值观不一致，并开始以完全不同的方式塑造故事，会发生什么？
But does this imply that stories can only be told according to certain pre-ordained rules? Why should a storyteller only be able to imagine a story according to these ‘rules’? Why should the ‘values of the Self’ always be triumphant? What happens if a storyteller, consciously or unconsciously, is not himself in harmony with those particular values, and sets out to shape a story in a quite different way?
我们现在必须考虑到人类想象力催生故事的方式中最显着的元素之一。在本书的第三部分中，我们终于看到了过去两百年来西方世界讲故事所发生的巨大变化。
We must now bring into account one of the most remarkable elements of all in the way the human imagination gives birth to stories. In the third part of this book we come at last to the extraordinary change which has come over storytelling in the Western world in the last two hundred years.
第三部分
未达目标
Part Three
Missing the Mark
“我曾经记下美国生物学家乔纳斯·索尔克的一句话，大意是，正是在生命的正常结构受到干扰的地方，我们才开始了解物种的基本法则。”
‘I once made a note of a remark by Jonas Salk, the American biologist, to the effect that it is where life’s normal structure is disturbed that we come to know the essential laws of the species.’
第二十一章
自我接管（一）
进入黑暗反转
Chapter Twenty-One
The Ego Takes Over (I)
Enter the Dark Inversion
“我越来越沮丧地想知道，所有的故事都去哪儿了？为什么十九世纪和二十世纪初随处可见的伟大而有意义的故事编排会衰落呢？
‘Where, I wondered with increasing dismay, had all the stories gone? Why this decay of the great and meaningful orchestration of the story that had occurred everywhere in the nineteenth and beginning of the twentieth centuries?’
劳伦斯·范德波斯特，布须曼人的遗嘱
Laurens van der Post, Testament to the Bushman
斯皮尔伯格的《第三类接触》怎么样？还是贝克特的《等待戈多》？还是塞林格的《麦田里的守望者》？还是奥威尔的《十九八十四》？或者柯南道尔的福尔摩斯故事？
What about Spielberg’s Close Encounters of the Third Kind ? Or Beckett’s Waiting for Godot? Or Salinger’s Catcher in the Rye ? Or Orwell’s Nineteen Eighty-Four? Or Conan Doyle’s Sherlock Holmes stories?
在这个阶段，很容易指出任意数量的单个故事，就我们一直在研究的原型结构而言，这些故事似乎很难定位。但绝大多数此类故事都是近两百年以来发生的。现在，我们必须在本书的第三部分中审视讲故事的演变中最奇怪、最具启发性的发展之一。
At this stage it would be easy to point to any number of individual stories which, in terms of the archetypal structures we have been looking at, it might seem difficult to place. But the vast majority of such stories date from the last two hundred years. We must now, in the third part of the book, look at one of the oddest and most revealing developments in the evolution of storytelling.
如果不了解大约两个世纪前西方世界讲故事开始发生的一些非常不寻常的事情，我们就无法正确理解故事如何以及为何在人类头脑中形成。在它的早期阶段（尽管即将发生的事情的最初迹象出现得更早，可以追溯到十八世纪），它与欧洲精神中的巨大震动直接相关，我们将这种震动与浪漫主义的兴起以及此类运动联系在一起。法国大革命和拿破仑的兴衰等历史事件。这种精神剧变反映在哲学、音乐、绘画和所有艺术中。但没有什么比当时作家构思故事的方式开始出现的深刻而重大的变化更能说明其真实本质的了。从那时起，它就一直对我们现代世界讲述故事的方式产生最深远的影响。
We cannot reach a proper understanding of how and why stories form as they do in the human mind without appreciating the way in which, around two centuries ago, something very unusual began to happen to storytelling in the Western world. In its early stages (although the first signs of what was to come had appeared even earlier, way back into the eighteenth century), it was directly related to that great convulsion in the European spirit which we associate with the rise of Romanticism and with such historic events as the French Revolution and the rise and fall of Napoleon. This psychic upheaval was reflected in philosophy, music, painting and all the arts. But nowhere was its true nature revealed more tellingly than in a profoundly significant change which began to emerge at that time in the way writers conceived stories; and which has continued to have the most far-reaching effect on the way stories have been told in our modern world ever since.
到目前为止，我们一直在研究故事如何向我们呈现一种人性和行为的基本地图，并受到一套绝对一致的规则和价值观的约束。这些价值观，就像塑造故事的原型结构一样，以我们无法修改或控制的方式被编程到我们的无意识中。该程序中隐含的基本信息是，任何人类生活的中心目标都是实现完美的平衡状态，我们认为这是成熟的状态。实现这一目标的主要敌人是我们被自我中心的变形和最终自我毁灭的力量所阻碍的能力。
So far we have been looking at how stories present to us what amounts to a kind of basic ground-map of human nature and behaviour, governed by an absolutely consistent set of rules and values. These values, like the archetypal structures which shape stories, are programmed into our unconscious in a way we cannot modify or control. The essential message implicit in that programming is that the central goal of any human life is to achieve the state of perfect balance which we recognise as maturity; and how the central enemy in reaching that goal is our capacity to be held back by the deforming and ultimately self-destructive power of egocentricity.
对于讲故事的人来说，想象一个充分表达这一中心主题的故事意味着他或她与那些塑造故事的无意识原型规则和结构完全处于心理和谐状态。到目前为止，我们一直专注于破译这种象征性语言的含义，以至于我们几乎以相同的方式对待我们所看过的所有故事。就好像所有讲故事的人都同样符合产生故事的基本原型过程。但在探索一个又一个情节的结构时，我们时不时地遇到一些故事的例子，这些故事在某种程度上并没有意识到其潜在原型模式的全部目的和内容。例如，我们看到白手起家的故事，其中英雄在试图达到圆满结局的过程中感到沮丧。我们看到《远航与归来》的故事仍然出奇地空洞：男女主人公在进入陌生世界的旅程中没有任何变化，什么也没学到。我们看到的喜剧只不过是喜剧情节原型信息的滑稽表演，玩弄其外在形式，但没有任何更深层次的含义。
For a storyteller to imagine a story which fully expresses this central theme implies that he or she is entirely in psychological harmony with those unconscious archetypal rules and structures which shape stories. Up to now we have been so focused on deciphering the meaning of this symbolic language that we have treated almost all the stories we have looked at in much the same way; as if all storytellers are similarly in tune with the basic archetypal process which gives rise to stories. But here and there, in exploring the structures of one plot after another, we have come across examples of stories which in some way did not realise the full purpose and content of their underlying archetypal pattern. For instance, we saw Rags to Riches stories where the hero was frustrated in trying to reach the full happy ending. We saw Voyage and Return stories which remained strangely empty: where the hero or heroine emerged from their journey into the unfamiliar world unchanged, having learned nothing. We saw comedies which were little more than burlesques of the archetypal message of the Comedy plot, playing with its outward form but without any deeper meaning.
在审视过去两个世纪以来讲故事所发生的变化时，我们将要看到的是，在无数的现代故事中，讲述故事的心理“重心”是如何发生根本性转变的。他们已经脱离了他们潜在的原型目标。这些故事并没有完全融入原型结构所体现的客观价值观，而是呈现出支离破碎的主观特征，变得更像个人的梦想或幻想。然而，正如我们将看到的，值得注意的是，在每种情况下，故事都准确地向我们展示了这种瓦解元素的出现。最引人注目的是方式，即使故事未能实现其完整的原型形式和目的，讲故事的无意识法则仍然继续决定着故事的展开。正是这一点使得现代世界中讲故事所发生的变化对于正确理解我们想象故事的能力如何发挥作用至关重要。这正是本书下一部分的主题。
What we are about to look at, in examining what has happened to storytelling over the past two centuries, is how, in countless modern stories, a fundamental shift has taken place in the psychological ‘centre of gravity’ from which they have been told. They have become detached from their underlying archetypal purpose. Instead of being fully integrated with the objective values embodied in the archetypal structure, such stories have taken on a fragmented, subjective character, becoming more like personal dreams or fantasies. Yet what is remarkable, as we shall see, is that in every case the story shows us precisely where this element of disintegration has crept in. And most remarkable of all is the way, even where a story falls short of realising its full archetypal form and purpose, the unconscious laws of storytelling still continue to dictate how it will unfold. It is this which makes the change which has come over storytelling in the modern world so crucial to a proper understanding of how our faculty for imagining stories works; and it is this which forms the theme of the next part of the book.
猩红与黑色：自我中心的英雄
The Scarlet and the Black: The hero as egotist
为了了解发生了什么，我们可以从十九世纪上半叶的四本著名小说开始。
To see what happened we may begin by looking at four well-known novels dating from the first half of the nineteenth century.
浪漫主义兴起时期最著名的小说之一是司汤达的《猩红与黑色》（1830）。当我们第一次见到年轻的英雄朱利安·索雷尔时，他正处于成年生活的边缘，与父亲和兄弟住在法国一个不起眼的省城的家里，远离法国国民生活的遥远而迷人的中心巴黎。索雷尔在自家的木材场工作，受到务实、缺乏想象力的家人的蔑视，甚至身体上的虐待，尤其是因为他读书。
One of the most famous of the novels produced by the rise of Romanticism was Stendhal’s The Scarlet and the Black (1830). When we first meet the young hero, Julien Sorel, he is on the verge of adult life, living at home with his father and brothers in an obscure French provincial town, far from the distant, glamorous centre of France’s national life, Paris. Working in the family timber yard, Sorel is scorned and even physically ill-treated by his practical, unimaginative family, not least for his reading of books.
这看起来像是白手起家的民间故事的开头，讲述了这位受迫害的年轻英雄因是一位心地善良的小梦想家而在其他家庭成员中脱颖而出的故事。但我们很快就知道索雷尔根本不是这样的。他非但没有仁慈，反而充满了恶意（“他憎恨他的兄弟和父亲”）。他雄心勃勃，并且痴迷于拿破仑。他原本他梦想参军，但当镇上一座华丽的新教堂建成，有华丽的大理石柱时，他意识到在这个和平时期，教堂是比当兵更好的通往权力和地位的道路。“突然间，于连不再谈论拿破仑了。他宣布了成为一名牧师的计划。他立即陶醉在“有一天被介绍给美丽的巴黎女性的梦想中，他将设法通过一些非凡的壮举或其他方式吸引她们的注意力”。他所有的野心都集中在遥远的巴黎，让人回想起这座遥远城市在故事中经常出现的方式，将英雄引向它，将其视为自我的象征。
It might seem like the opening of one of those Rags to Riches folk tales which show the persecuted young hero marked out from the rest of his family by the fact that he is a good-hearted little dreamer. But we soon learn that Sorel is not like this at all. Far from being kindly, he is consumed by malevolence (‘he hated both his brothers and his father’). He is hugely ambitious and obsessed by Napoleon. He originally dreamed of joining the army, but when a splendid new church is built in the town, with ornate marble columns, he realises that in these peaceful times the Church is a better road to power and position than soldiering. ‘All at once Julien stopped talking about Napoleon. He announced his plan of becoming a priest.’ And immediately he is revelling in ‘dreams of one day being introduced to beautiful Parisian women, whose attention he would manage to attract by some remarkable feat or other’. All his ambitions are centred on distant Paris, recalling the way in which the far-off city so often appears in stories, drawing the hero towards it as a symbol of the Self.
在前几页中，我们已经看到索雷尔的幻想如何围绕中心目标的三个熟悉的方面——赢得权力和地位、与异性的结合以及最终的“自我实现”的想法——但只能通过黑暗的、倒转的玻璃，映照着他那吞噬一切的自我中心主义。我们还注意到，与通常失去父亲的童话英雄不同，索雷尔没有母亲。他的生活中根本没有女性的影响。
Already, in the early pages, we have seen how Sorel’s fantasies centre round those three familiar aspects of the central goal – winning power and position, union with the opposite sex and the idea of ultimate ‘Self-realisation’ – but only seen through the dark, inverting glass of his all-consuming egotism. We also note that, unlike the fairy-tale hero who has usually lost a father, Sorel is without a mother. There is no feminine influence in his life at all.
然而，就像童话故事中的英雄配备了“符咒”或“魔法武器”，使他能够逃脱任何危险一样，索雷尔也被赋予了两个属性，使他能够在任何社会考验中取得胜利：第一是他惊人的善良看起来，第二是他惊人的记忆力，这使他能够轻松背诵整本书。
Nevertheless, like some fairy-tale hero who is equipped with ‘charms’ or ‘magic weapons’ to enable him to escape any danger, Sorel is also given two attributes which enable him to triumph in any social test: the first is his striking good looks, the second his phenomenal memory, which allows him to learn whole books by heart with ease.
和许多人一样，他的故事通过三个主要阶段展开。第一个开始是他背诵了拉丁文新约圣经和一本关于教皇权的书（“他对其中一个和另一个都不太相信”）。有了这个技巧，他成为了镇长雷纳尔先生孩子们的家庭教师，迈出了走出家门的第一步。他通过背诵《新约全书》的大段内容，立即赢得了所有人的钦佩，他在当地知名人士的晚宴上很快又重复了这一技巧。他还凭借“近乎少女般的美貌”赢得了市长夫人雷纳尔女士的心，他们开始了一段恋情。
His story unfolds, like so many, through three main stages. The first begins when he learns by heart the Latin New Testament and a book on the Papacy (‘he believed one as little as the other’). Armed with this trick, he takes his first step into the world outside his home by becoming tutor to the children of the mayor of the town, M. Renal. He at once wins the admiration of all by reciting chunks of the New Testament, a trick he shortly repeats at a dinner of local notables. He also, with his ‘almost girlish good looks’, wins the heart of the mayor’s wife Mme Renal, and they begin an affair.
与已婚妇女、年长妇女或两者兼而有之，总是故事中的危险信号。它总是向我们表明，主人公陷入了与“母亲”的联系之中，处于一种内在发展受阻的状态：而在索雷尔的例子中，它呼应了这样一个事实：他在故事中根本没有真正的“母亲”。雷纳尔女士填补了这一空白。但当然，他们的恋情不可能带来任何“幸福的结局”，当它开始引起尴尬的关注时，索雷尔无情地把她扔了下去。
An affair with a married woman, an older woman, or in this case both, is always a danger sign in a story. It invariably shows us that the hero is caught in a tie to ‘Mother’, in a state of arrested inner development: and in Sorel’s case it echoes the fact that he has no real ‘Mother’ in the story at all. Mme Renal fills this gap. But of course their affair cannot lead to any ‘happy ending’, and when it begins to attract embarrassing attention, Sorel heartlessly throws her over.
现在，他进入了社会阶梯的第二阶段，离开城镇前往省会贝桑松的一所神学院。“这就是我永远无法摆脱的人间地狱”，索雷尔对神学院的问候：“根据他为自己制定的行为准则，他对待他的三百二十名同学作为敌人’。这个年轻人现在比以往任何时候都更加以自我为中心，更加无情，只从竞争和统治的角度看待他的同代人。最终，索雷尔巧妙地邀请了从巴黎来访的主教（一位世俗的教会王子）共进晚餐。他不可避免地会通过背诵贺拉斯的长篇文章来施展他的聚会伎俩。主教对此印象深刻，不久之后索雷尔获得了一个超出他最疯狂梦想的机会，
He now moves onto the second stage of his climb up the social ladder, as he leaves town for a seminary in the provincial capital, Besancon. ‘So here’s this hell on earth from which I’ll never be able to get out’ is Sorel’s greeting to the seminary: ‘according to the rules of conduct he had drawn up for himself, he looked on his three hundred and twenty fellow students as enemies’. The young man is now more egocentric and heartless than ever, seeing his contemporaries only in terms of rivalry and domination. Eventually Sorel wangles an invitation to dinner with the bishop, a worldly prince of the Church, visiting from Paris. Inevitably he wheels on his party trick, by reciting lengthy passages from Horace. The bishop is impressed, and shortly afterwards Sorel obtains an opening beyond his wildest dreams, to travel to Paris to become secretary to ‘the most powerful man in France’, the fabulously rich Marquis de la Mole.
第三阶段开始于这位粗俗的外省年轻人抵达巴黎，并在华丽的新环境中犯下一两次愚蠢的社交失态。但很自然地，他很快就通过演奏贺拉斯的演奏给晚宴上的每个人留下了深刻的印象来赎回自己。他已经被这个家族的女儿玛蒂尔德的美丽所震惊，“一个有着浅金色头发和匀称身材的年轻女子”。侯爵作为一位仁慈的“父亲”，将更加重要和保密的事务托付给他。他跻身巴黎最时尚的年轻人行列（甚至有传言说他是“公爵的亲儿子”）。最重要的是，他赢得了玛蒂尔德的崇拜，不用说，她自己现在已经成为“巴黎最受尊敬的年轻女性”。但索雷尔赢得她爱的方式仅以自我中心的统治和服从来描述：“你是我的主人”，她告诉他，“永远统治我，每当你的奴隶试图反抗时，就严厉惩罚她”。她怀孕了，夫妻俩决定私奔；但侯爵态度软化，同意给他们一笔巨额收入。似乎一切都准备好了一个病态的、纸板般的“幸福结局”，索雷尔与他的“婴儿期”团结在一起阿尼玛”并注定要“继承王国”，成为侯爵帝国的选定继承人。然后突然间，灾难从索雷尔的过去袭来。被他抛弃的情妇雷纳尔夫人给侯爵写了一封信，无情地抹黑了索雷尔的品格。愤怒又沮丧的索雷尔回到了家乡，并试图在教堂里射杀复仇心切的“黑暗母亲”雷纳尔夫人。他不可避免地被捕并被送上断头台。故事以一场非凡的葬礼结束，20 名牧师在高山的一个山洞里庆祝，“无数的蜡烛点燃了”。悲伤的玛蒂尔德埋葬了索雷尔的断头。三天后，雷纳尔夫人因悲痛而去世。
The third stage begins with the gauche young provincial arriving in Paris, and making one or two silly social gaffes amid his magnificent new surroundings. But naturally he soon redeems himself by impressing everyone at dinner with a recital of Horace. He has already been struck by the beauty of the daughter of the house, Mathilde, ‘a young woman with the palest golden hair and a shapely figure’. The Marquis, as a kindly ‘Father’, entrusts him with ever more important and confidential business. He is admitted to the ranks of the most fashionable young men in Paris (there are even whispers that he is ‘the natural son of a duke’). Above all, he wins the adoration of Mathilde who, needless to say, has herself now become ‘the most admired young woman in Paris’. But the manner in which Sorel wins her love is portrayed only in terms of egocentric domination and subjection: ‘you are my master’, she tells him, ‘reign over me forever, punish your slave severely whenever she seeks to rebel’. She becomes pregnant and the couple decide to elope; but the Marquis relents and agrees to settle on them a huge income. It seems all is set for a sickly and pasteboard ‘happy ending’, with Sorel united to his ‘infantile anima’ and destined to ‘succeed to the kingdom’ as the chosen heir to the Marquis’s empire. Then suddenly, out of Sorel’s past, disaster strikes. Mme Renal, his discarded mistress, writes a letter to the Marquis, blackening Sorel’s character unmercifully. Enraged and frustrated, Sorel returns to his home town and attempts to shoot the vengeful ‘Dark Mother’, Mme Renal, in church. Inevitably he is arrested and sent to the guillotine. The story ends with an extraordinary funeral ceremony, celebrated by 20 priests in a cave high up in the mountains, ‘lit by countless candles’. A sorrowing Mathilde buries Sorel’s severed head. Three days later Mme Renal dies of grief.
这个故事给我们留下的第一印象可能是，尽管有结局，但它在很大程度上与传统的悲剧不同。从表面上看，它更像是一个白手起家的故事，只是在结尾场景突然转向悲剧。从一开始，索雷尔就完全以自我为中心。他没有表现出任何使英雄获得幸福结局所必需的品质。他是一个完全二维的角色，几乎完全由他无情的野心来定义。我们所看到的他成功的唯一原因是他记忆中的机械派对技巧，一次又一次地推动他在梯子上的每一步（非常难以置信，因为在很短的时间内，他的晚宴同伴客人肯定会觉得这些虚荣的朗诵令人无限厌倦）。没有任何迹象表明，内心的逐渐转变标志着一个真正的白手起家的英雄。但同样，我们也没有看到他正在经历一个真正悲剧人物的黑暗内心转变。在故事的十分之九中，我们看到这个纸板创作经历了从白手起家到富有的成功攀登的所有外在动作：直到突然整个事情分崩离析，他像伊卡洛斯一样坠入毁灭。
The first thing which may strike us about this story is the extent to which, despite its ending, it is not like a conventional Tragedy. In its outward form it is much more like a Rags to Riches story which only switches abruptly to Tragedy in its closing scenes. Right from the start, Sorel is thoroughly ego-centred. He does not show any of the qualities necessary to bring the hero to a happy ending. He is a completely two-dimensional character, defined almost solely by his ruthless ambition. The only reason we are ever shown for his success is the mechanical party trick of his memory, which is wheeled on again and again to manoeuvre him up every step of the ladder (highly implausibly, since within a very short time his fellow dinner-party guests would surely have found these vainglorious recitals infinitely wearisome). Not for a moment is there any sign of that gradual inner transformation which marks out a proper Rags to Riches hero. Yet equally we do not see him going through the dark inner transformation of a truly tragic figure either. For nine-tenths of the story we see this cardboard creation going through all the outward motions of a successful climb from Rags to Riches: until suddenly the whole thing falls apart and, like Icarus, he plunges to destruction.
我们还可以观察到一个值得注意的事实，即司汤达本人根本没有以这种黑暗和消极的方式看待他的英雄。他的故事的萌芽取自 1820 年代法国一场著名的现实悲剧的法庭报告。一个卑微的铁匠的儿子离开家，成为一个富裕的中产阶级家庭的家庭教师，并进入神学院成为一名牧师。他的前雇主的妻子随后给神学院院长写了一封报复信，结果他被开除。他试图在弥撒时向她开枪报复，结果被送上了断头台。当时的许多人，包括司汤达，都认为这个年轻人是社会虚伪和僵化阶级制度的不幸受害者，仅仅因为他的社会出身卑微而被迫沦为被抛弃的人。
What we may then also observe is the remarkable fact that Stendhal himself did not see his hero in this dark and negative fashion at all. He took the germ of his story from the court reports of a celebrated real-life tragedy in the France of the 1820s. A humble blacksmith’s son had left home to become tutor to a wealthy middle-class family, and had gone on to a seminary to become a priest. His previous employer’s wife had then written a vindictive letter to the head of the seminary, as a result of which he had been expelled. He tried to take his revenge by shooting her at Mass, and had been sent to the guillotine. Many people at the time, including Stendhal, saw the young man as the unfortunate victim of social hypocrisy and a rigid class system, driven into the position of an outcast only because of his lowly social origins.
事实上，司汤达并没有把他的英雄视为一个自私自利的怪物，相反，他对他抱有最大的同情。他将他视为出身卑微的后拿破仑时代的新英雄，在一个只有强者和弱者、每个人从根本上来说都同样自私的世界里，反抗压迫性的阶级结构，奋力向上。 。作为拿破仑的狂热崇拜者，司汤达并不认为自我中心主义本身有什么可耻的。他自豪地将自己的一卷自传称为“自我意识纪念品”。他钦佩地称赞夏多布里昂为“自我主义者之王”'。当他开始创造他最喜欢的英雄索雷尔时，他告诉人们“朱利安就是我自己”。这种认同也不仅仅适用于索雷尔的外在社会野心。自觉不自觉地，索雷尔和他的创造者在内心状态上也存在着密切的对应，表现为对异性的态度。司汤达无休止地幻想着他对女性的“征服”，这在索雷尔的施虐受虐式“征服”和对玛蒂尔德的羞辱中得到了体现。但在现实生活中，他的恋情通常都是短暂而尴尬的，而他的不足之处关键就体现在他说他对在他还是个孩子的时候就去世的母亲“就像一个情人”。
Far from seeing his hero as a monster of egotism, in fact, Stendhal viewed him with the utmost sympathy. He saw him as the new, post-Napoleonic hero of humble birth, defying an oppressive class structure to battle his way upwards, in a world in which there were only the strong and the weak, and in which everyone was, fundamentally, equally egotistical. A fervent admirer of Napoleon, Stendhal did not see egotism in itself as anything to be ashamed of. He proudly called one of his volumes of autobiography Souvenirs d’Egotisme. He admiringly hailed Chateaubriand as ‘le roi des egotistes’. And when he came to create his favourite hero, Sorel, he told people ‘Julien is myself’. Nor did this identification apply only to Sorel’s outward social ambitions. Consciously or unconsciously, there was also a close correspondence between Sorel and his creator in terms of their inner state, as expressed in their attitudes to the opposite sex. Stendhal fantasised endlessly about his ‘conquests’ of women, in a way which is reflected in Sorel’s sadomasochistic ‘conquest’ and humiliation of Mathilde. But in real life, his love affairs were usually short-lived and embarrassing, and the key to his inadequacy was reflected in his saying that he felt towards his mother, who had died when he was only a boy, ‘like a lover’.
在所有这些方面，《猩红与黑色》代表了故事讲述中几乎全新的东西。历代早期的故事讲述者都是根据自我的价值观来想象他们的故事，而作家却有意识地创造了一个英雄来反抗这些价值观。索雷尔是司汤达自我中心的投射，因为他认同他的英雄与全世界的竞争，以及他毫不费力地攀登社会和性阶梯。
In all these respects, The Scarlet and the Black represented something almost entirely new in storytelling. Whereas earlier storytellers down the ages had imagined their stories in accordance with the values of the Self, here was an author quite consciously creating a hero to defy those values. Sorel was a projection of Stendhal’s own egocentricity, as he identified with his hero’s rivalry with all the world, and with his effortless climb up the social and sexual ladder.
然而最终，这种从卑微的默默无闻到社会成功的崛起不可避免地变成了悲剧，就像现实生活中的情况一样，司汤达最初将司汤达作为他小说的灵感来源。它完全按照那些最终决定故事如何展开的基本规则进行。像任何其他讲故事的人一样，他遵循故事的内在逻辑，正如它在他的想象中发展的那样：结果是，就在那一刻，在故事的有意识的“上层”，英雄似乎终于触手可及了。目标，与纸板婴儿阿尼玛的结合人物，继承了巨大财富和地位的“王国”，从“下等领域”中出现了复仇的“黑暗母亲”，将其全部夺走。最后，我们看到 20 名牧师在烛光洞穴中为索雷尔的尸体举行了非凡的仪式，这是他永远无法逃脱的“失去知觉的子宫”。玛蒂尔德留下了被砍下的头颅，这是索雷尔唯一能被阿尼玛抓住的部分，他的头或想象力。只有当他被埋葬时，“黑暗母亲”雷纳尔夫人才会放弃她致命的控制。从心理上来说，在某种程度上是无意识的，这是一个软弱、虚荣、“母亲迷恋”的司汤达本人的故事。
Yet in the end this rise from humble obscurity to social success turns inexorably to tragedy, just as it had done in the real life version which originally drew Stendhal as the inspiration for his novel. And it does so precisely in accordance with those underlying rules which ultimately dictate how any story shall unfold. Like any other storyteller, he followed the inner logic of the story, as it developed in his imagination: with the result that, at the very moment when, on the conscious ‘upper level’ of the story the hero seems finally within reach of his goal, of union with the pasteboard infantile anima-figure, and succession to the ‘kingdom’ of great wealth and position, out from the ‘inferior realm’ emerges the vengeful ‘Dark Mother’ to snatch it all away. At the end we see the extraordinary ceremony of the 20 priests blessing Sorel’s corpse in the candelit cave, the ‘womb unconscious’ from which he could never escape. Mathilde is left with the severed head, the only part of Sorel which the anima could ever get hold hold of, his head or imagination. Only when he is buried does the ‘Dark Mother’, Mme Renal, relinquish her fatal grip. Psychologically, and to this extent unconsciously, it was the story of the weak, vain, ‘mother-fixated’ Stendhal himself.
换句话说，我们看到这个故事中发生了两件非常重要的事情。首先，讲故事的人由于直接反映他自己心理的原因，自己已经受到我们之前所看到的“黑暗倒置”的影响，站在以自我为中心的英雄一边，反对自我的价值观。他的故事已经成为一种以自我为中心的幻想，类似于一场漫长的白日梦。但第二个是，我们仍然看到英雄，按照那些无情的规则，最终带来了自己的毁灭。自我的价值观仍然是胜利的，因为根据人类心灵中支配故事塑造的无意识力量的逻辑，它们无法被成功地反抗。如果作者打算围绕一个黑暗、以自我为中心的英雄来讲述他的故事，那么情节就不可能有一个完全解决的幸福结局。
In other words, we see two very significant things having taken place in this story. The first is that a storyteller, for reasons directly reflecting his own psychology, has himself become subject to what we saw earlier as ‘the dark inversion’, siding with his egocentric hero against the values of the Self. His story has become an ego-centred fantasy, akin to a prolonged daydream. But the second is that we still see the hero, by those implacable rules, eventually bringing about his own destruction. The values of the Self remain triumphant, because by the logic of that unconscious power in the human mind which governs the shaping of stories, they cannot be successfully defied. If an author sets out to tell his story round a dark, egocentric hero, there is no way the plot can unfold to a fully-resolved happy ending. Sooner or later those hidden rules will come into play to ensure that the hero cannot realise his goal.
巴尔扎克：讲故事的人是自我主义者
Balzac: The storyteller as egotist
司汤达的书出版四年后，巴尔扎克出版了他的小说系列中的第一部《人间喜剧》，描绘了当代法国的生活，
Four years after Stendhal’s book appeared, Balzac published the first of his series of novels La Comedie Humaine, portraying life in contemporary France,
《高老头》（ Père Goriot，1834 年）主要讲述了一位贫穷的法律系学生尤金·德·拉斯蒂涅（Eugene de Rastignac）的名声和财富的崛起。就像《猩红与黑色》中那样这个故事在某些方面让人想起白手起家的童话故事。这位雄心勃勃的年轻英雄从巴黎的外省来到这里，就像迪克·惠廷顿来到伦敦一样，他的名下身无分文。他手中唯一的牌是他与“巴黎时尚女王之一”、极其盛大的子爵夫人（Vicomtesse de Beauseant）的远亲关系。这位强大的女士实际上成为拉斯蒂涅的“仙女教母”，并决定利用她的影响力让他走上令人眼花缭乱的社交生涯。她首先安排他去见一位富有的伯爵夫人。但这并不是拉斯蒂涅想要娶的童话“公主”。伯爵夫人已经结婚了。目的很简单，他应该通过成为她的情人来赢得社会进步。当这桩婚事因拉斯蒂涅的一次社交失态而化为泡影时，“仙女教母”把他推向伯爵夫人的妹妹，一位同样富有的男爵夫人。这次的诡计更加成功，尤其是因为拉斯蒂涅发现了姐妹俩财富的罪恶秘密。他们的老父亲高老头（Goriot）是一位退休的小粉丝制造商，他恰好住在拉斯蒂涅的简陋住所里。有一天，德拉斯蒂涅碰巧从钥匙孔里看到了他，他熔化了家里最后的银子（就像森林里的某个童话侏儒），为他的女儿们提供了更多的资金。高老头和男爵夫人联手在拉斯蒂涅的豪华公寓里安置了他。搬进来后，尤其是因为拉斯蒂涅发现了姐妹俩财富的罪恶秘密。他们的老父亲高老头（Goriot）是一位退休的小粉丝制造商，他恰好住在拉斯蒂涅的简陋住所里。有一天，德拉斯蒂涅碰巧从锁孔里看到了他，他熔化了家里最后的银子（就像森林里的童话侏儒），为他的女儿们提供了更多的资金。高老头和男爵夫人联手在拉斯蒂涅的豪华公寓里安置了他。搬进来后，尤其是因为拉斯蒂涅发现了姐妹俩财富的罪恶秘密。他们的老父亲高老头（Goriot）是一位退休的小粉丝制造商，他恰好住在拉斯蒂涅的简陋住所里。有一天，德拉斯蒂涅碰巧从锁孔里看到了他，他熔化了家里最后的银子（就像森林里的童话侏儒），为他的女儿们提供了更多的资金。高老头和男爵夫人联手在拉斯蒂涅的豪华公寓里安置了他。搬进来后，熔化家里最后的银子（就像森林里的童话侏儒）为他的女儿们提供更多的资金。高老头和男爵夫人联手在拉斯蒂涅的豪华公寓里安置了他。搬进来后，熔化家里最后的银子（就像森林里的童话侏儒）为他的女儿们提供更多的资金。高老头和男爵夫人联手在拉斯蒂涅的豪华公寓里安置了他。搬进来后，
Père Goriot (1834) focuses on the rise to fame and fortune of a poor law student, Eugene de Rastignac. Just as in The Scarlet and the Black, the story is in some ways reminiscent of a Rags to Riches fairy tale. The ambitious young hero arrives from the provinces in Paris, like Dick Whittington arriving in London, without a penny to his name. The only card in his hand is his distant kinship to ‘one of the queens of fashionable Paris’, the immensely grand Vicomtesse de Beauseant. This powerful lady becomes in effect de Rastignac’s ‘fairy godmother’, and determines to use her influence to launch him on a dazzling social career. She first arranges for him to meet a certain rich Countess. But this is no fairy tale ‘Princess’ whom it is intended de Rastignac should marry. The Countess is married already. The aim is simply that he should win social advancement by becoming her lover. When this proposed affair comes to nothing, thanks to a social gaffe by de Rastignac, the ‘fairy godmother’ propels him in the direction of the Countess’s sister, an equally rich Baroness. This time the ruse is more successful, not least because de Rastignac has discovered the guilty secret of both the sisters’ wealth. They are being privily supported by their old father Goriot, a little retired vermicelli manufacturer, who just happens to live in de Rastignac’s humble lodgings; and whom de Rastignac just happens one day to see through the keyhole, melting down the last of the family silver (like some fairy-tale gnome in the forest) to provide his daughters with more funds. Goriot and the Baroness combine to set up de Rastignac in a lavish apartment. Having moved in,
“尤金完全被征服了，靠在沙发上，一句话也说不出来，也无法理解在这最后的转变场景中再次挥舞魔杖的方式。”
‘Eugene, completely overcome, lay back on the sofa, unable to utter a word or make sense yet of the way in which the magic wand had been waved yet again for this final transformation scene.’
但话又说回来，童话般的幸福结局并没有实现。灾难突然降临。两姐妹的财务状况都崩溃了。老高老头自己也死了。他无情、势利的女儿们甚至不屑参加他的葬礼。德拉斯蒂涅，他许诺的财富被夺走，爬上了巴黎上方的山丘，轻蔑地俯视着“他希望获得的辉煌世界”，并激烈地蔑视说，“现在是我们之间的战争”。
But, again, the fairy-tale happy ending is not to be. Suddenly disaster strikes. The financial affairs of both sisters crash in ruins. Old Goriot himself dies. His heartless, snobbish daughters do not even deign to come to his funeral. De Rastignac, his promised fortune snatched away from him, climbs the hill above Paris, looks down contemptuously on ‘the splendid world he had wished to gain’ and says, in bitter defiance, ‘It’s war between us now’.
尽管它明显地呼应了白手起家的童话故事，但这个凄凉的二维故事与民间故事永恒的、近乎形而上学的境界相去甚远，在民间故事中，财富、“公主”和转变场景代表着更具象征意义的东西。其意义不仅仅在于积累现金和一连串的性征服，而且在心理上也具有深远的意义。当拉斯蒂涅无情地攀登社会阶梯时，没有任何内在转变的迹象，也没有任何向完整和成熟发展的迹象：只是在社会自我扩张的战争中获得了新的、更锋利的武器，以及社会的普遍硬化。一颗曾经相对纯真的心。我们在这里再次看到的是一位作者挑战原型规则，试图想象一个完全以自我为中心的、纸板英雄经历了从白手起家到富有的过程，但没有任何能够让他成功解决问题的基本品质：结果，当拉斯蒂涅向“敌对”的巴黎城市，象征着自我的整体。在对城市的蔑视中，巴尔扎克的英雄仅仅反映了最不祥的心灵分裂：在那里，远离与更深层次的“中心”和谐相处的有意识的自我，两者似乎陷入了无可挽回的矛盾。象征着自我的整体性。在对城市的蔑视中，巴尔扎克的英雄仅仅反映了最不祥的心灵分裂：在那里，远离与更深层次的“中心”和谐相处的有意识的自我，两者似乎陷入了无可挽回的矛盾。象征着自我的整体性。在对城市的蔑视中，巴尔扎克的英雄仅仅反映了最不祥的心灵分裂：在那里，远离与更深层次的“中心”和谐相处的有意识的自我，两者似乎陷入了无可挽回的矛盾。
Despite its explicit echoes of a Rags to Riches fairy tale, this bleak, two-dimensional story could scarcely be further from the timeless, almost metaphysical realm of the folk tale, where riches, ‘Princesses’ and transformation scenes stand for something altogether more symbolic and psychologically profound than just the amassing of hard cash and a succession of sexual conquests. As de Rastignac climbs his way ruthlessly up the social ladder, there are no signs of any inner transformation, any development towards wholeness and maturity: merely the acquisition of new and sharper weapons in the war of social self-aggrandisement, and the general hardening of a once relatively innocent heart. What we again see here is an author defying the archetypal rules by trying to imagine a wholly egocentric, pasteboard hero going through the pattern of an ascent from Rags to Riches without any of the essential qualities which could allow him to reach a successful resolution: with the result that the story ends on that chilling final image when de Rastignac issues his angry challenge to the ‘hostile’ city of Paris, symbolising the totality of the Self. In bidding defiance to the city, Balzac’s hero is merely reflecting that most ominous psychic split of all: where, far from the conscious ego ending up in harmony with the deeper ‘centre’, the two are left seemingly irretrievably at odds.
与《猩红与黑色》中的司汤达一样，巴尔扎克也被白手起家情节的总体主题所吸引，但方式却完全脱离了其最初更深层次的原型目的。传统的白手起家的故事，正如我们在民间传说中看到的那样，在《阿拉丁》、《简·爱》、《大卫·科波菲尔》中，表达了一种编码到人类无意识中的模式，当这种模式以故事的形式被意识化时，这是一幅理想化的象征图画，描绘了一个人从不成熟到全面成熟的心理发展的完整道路。
As with Stendhal in The Scarlet and the Black, Balzac was drawn to the general theme of the Rags to Riches plot, but in way which had become completely detached from its original deeper archetypal purpose. The traditional Rags to Riches story, as we have seen it in folklore, in Aladdin, in Jane Eyre, in David Copperfield, was the expression of a pattern coded into the human unconscious which, when made conscious in the form of a story, gives us an idealised symbolic picture of a human being travelling the full road of psychological development, from immaturity to integrated maturity.
这些“浪漫”版本的白手起家主题中发生的情况是，这种模式被讲故事的人的自我所采用。它不是作为内在心理事件的表达而存在于内部，而是被投射到外部世界，以表达自我对外部满足的渴望。因此，白手起家的故事不再是男女主人公走向最终融合的内在成长的反映，而只是以自我为中心的幻想或白日梦的载体。正如萨默塞特·毛姆谈到巴尔扎克时所说，他钦佩巴尔扎克，认为他是唯一一位可以“毫不犹豫地将其视为天才”的小说家：
What was happening in these ‘Romantic’ versions of the Rags to Riches theme was that this pattern was being appropriated by the storyteller’s ego. Instead of being held internally, as an expression of inward psychic events, it was being projected onto the outside world, to express the desire of the ego for external gratification. The Rags to Riches story was thus becoming not so much a reflection of the hero or heroine’s inner growth towards eventual integration, but simply the vehicle for ego-centred fantasies or daydreams. As Somerset Maugham said of Balzac, whom he admired as the only novelist to whom he could ‘without hesitation ascribe genius’:
“从一开始，他的目标就是过上富丽堂皇的生活，拥有一栋漂亮的房子，有许多仆人、车马、一大批情妇和一个富有的妻子。”
‘from the beginning his aim had been to live in splendour, to have a fine house with a host of servants, carriages and horses, a string of mistresses and a rich wife.’
在《高老头》和后来的小说中，巴尔扎克深情地想象他的英雄们在巴黎社会中更加辉煌地崛起，这正是他在幻想中所追求的目标：通过梦想，通过拉斯蒂涅和其他人的社会胜利，他一连串的“幻想自我”，赢得了他的自我所渴望的所有社会和性满足。
When, in Père Goriot and later novels, Balzac fondly imagines his heroes rising ever more gloriously in Parisian society, it was precisely that aim which, in his fantasy, he was pursuing: by dreaming, through the social triumphs of de Rastignac and others, his succession of ‘fantasy selves’, of winning all those social and sexual gratifications his ego desired.
但是，尽管讲述故事的心灵来源的这种转变具有重要意义，但这并不意味着旧的原型形式现在就会消失。事实上，人类思维的构成使得任何讲故事的人都无法摆脱原型，无论他或她如何努力。它们仍然是人类心灵的基本编码，是故事可以讲述的唯一形式。它们无法逃脱，就像讲故事的人无法逃脱最伟大的原型一样，即隐藏的自我整体性，即包含所有其他事物的最终形式。无论我们如何通过自我试图埋葬、忽视或反抗自我，它都不会被欺骗，因为它无情地、客观地坚持关于我们和世界工作方式的最深刻的、不变的真理（而不是我们的工作方式）。 ，通过自我的一厢情愿的想法，
But for all the significance of this shift of the source in the psyche from which stories were told, it did not mean that the old archetypal forms would now just fade away. Indeed the human mind is so constituted that no storyteller can escape from the archetypes, however hard he or she may try. They are still the basic coding of the human psyche, the only forms around which stories can be told. They can no more be escaped from than storytellers can escape from the greatest archetype of all, the hidden totality of the Self, the ultimate form which embraces all the others. However far we try, through the ego, to bury, ignore or defy the Self, it cannot be cheated in its remorseless, objective insistence on the deepest, unchanging truths about the way we and the world work (as opposed to the ways in which, through the wishful thinking of the ego, we might like it to work).
如果自我被否认，它总是会尝试以某种形式将有关紊乱出现在哪里以及如何纠正的信息传递回自我；正如我们所看到的，没有什么比故事更生动地证明了这一点。为了说明这一点，只需看看“白手起家”故事的奇怪命运，一旦讲故事的道德和心理中心开始发生这种深刻的转变。在浪漫主义时代的黎明，随着讲故事的人开始陷入“黑暗反转”的困境，他们发现写出具有幸福、圆满结局的故事变得越来越困难。但这不仅反映在受白手起家主题启发的故事中。它开始出现在各种故事中。
If the Self is denied, it will always try, in some form or other, to pass back to the ego the message as to where the disorder has arisen and how it can be rectified; as we see demonstrated nowhere more vividly than in stories. And for an illustration of this one needs look no further than to the curious fate of the Rags to Riches story, once this profound shift in the moral and psychological centre of storytelling had begun to take place. In the dawn of the Romantic era, as storytellers began to pass into the grip of the ‘dark inversion’, so they found it increasingly difficult to write stories with happy, all-reconciling endings. But this was not only reflected in stories inspired by the Rags to Riches theme. It began to appear in stories of all kinds.
弗兰肯斯坦：怪物作为英雄
Frankenstein: The monster as hero
现在我们来看看当同样的黑暗反转接管了克服怪物情节的原型主题时发生了什么。
We now look at what happened when the same dark inversion took over the archetypal theme of the Overcoming the Monster plot.
几年前，即 1816 年夏天，讲故事史上最引人注目的事件之一发生在日内瓦湖畔。它是英国浪漫主义两个最叛逆的精神之间第一次会面的结果：珀西·比希·雪莱（Percy Bysshe Shelley）在他的情妇玛丽·戈德温（Mary Godwin）和她同父异母的妹妹克莱尔（Claire）的陪同下，以及拜伦勋爵（Lord Byron）在他年轻的追随者威廉·波利多利（William Polidori）博士的陪同下。在六月底潮湿的两周里，这群奇怪的年轻人，已经被各种精神压力撕裂，在一本德国恐怖故事书《幻想》的帮助下自言自语。，陷入集体近乎歇斯底里的状态。大家商定，他们每个人都应该创作一个鬼故事。玛丽·戈德温做了一个可怕的梦，梦中充满了他们一直在讨论的一些话题，比如让尸体复活。她最终从噩梦中汲取灵感，写出了一本书，不仅比两位著名诗人本人的任何一部作品在今天更广为人知，而且从心理学的角度来看，它是欧洲浪漫主义所有产物中最重要的作品之一。移动。
Some years earlier, in the summer of 1816, one of the most remarkable episodes in the history of storytelling had taken place on the shores of Lake Geneva. It resulted from the first meeting between the two most rebellious spirits of English Romanticism: Percy Bysshe Shelley, accompanied by his mistress Mary Godwin and her half-sister Claire, and Lord Byron, accompanied by his young hanger-on Dr William Polidori. Over a wet fortnight at the end of June, this oddly assorted group of young people, already riven by all kinds of psychic stress, talked themselves, with the aid of a German book of horror stories, Fantasmagoria, into a state of collective near-hysteria. It was agreed that each of them should produce a ghost story. Mary Godwin had a hideous dream, coloured by some of the topics they had all been discussing, like the bringing of corpses back to life. And she finally produced, from the inspiration of her nightmare, a book not only more widely known today than any single work by either of the two famous poets themselves, but in psychological terms one of the most significant of all the products of the European Romantic movement.
《弗兰肯斯坦：现代普罗米修斯》的故事讲述了主人公如何出生在日内瓦一个受人尊敬、幸福的家庭。他生活中的主要人物是他慈祥的父亲。他慈爱的母亲；他的弟弟威廉；他儿时的好友克莱瓦尔；还有他的表妹伊丽莎白，美丽而受人爱戴；“她的外表似乎散发着光彩，其形状和动作都比山上的麂皮轻；随着他们长大，人们认为弗兰肯斯坦有一天会嫁给他们。在这里，我们看到英雄快乐地被光（尽管完全是二维的）角色包围：父亲、母亲、孩子、忠实的另一个自我，最后是阿尼玛。
The story of Frankenstein: A Modern Prometheus tells how its hero had been born into a respectable, happy family in Geneva. The main figures in his life had been his kindly father; his loving mother; his little brother William; his close boyhood friend Clerval; and his cousin Elizabeth, beautiful and adored; ‘a creature who seemed to shed radiance from her looks, and whose form and motion were lighter than the chamois of the hills’; and whom, as they grew up, it was assumed Frankenstein would one day marry. Here we see the hero happily surrounded with light (albeit entirely two-dimensional) characters: Father, Mother, Child, faithful Alter-Ego, and finally, the anima.
故事的情节开始于弗兰肯斯坦作为英戈尔施塔特大学的一名年轻学生即将走向世界时。在他离开的前夕，作为一个预兆，他生命中女性的两位代表，他的母亲和伊丽莎白都病入膏肓。他的母亲去世了，但伊丽莎白最终康复了。在大学里，他着迷于各种神秘学论文，并被一种浮士德式的“洞察自然的秘密”的渴望所占据。“复活鬼魂或魔鬼是我最喜欢的作家慷慨地做出的承诺，也是我最渴望实现的”。找到他的“焦点”后，英雄在一个灿烂的夏天将自己封闭了几个月，以完成他的隐秘任务：“谁能想象我秘密辛劳的恐怖，当我涉足坟墓里肮脏的湿气，或者折磨活生生的动物，让死气沉沉的粘土复活时。” 最后，他利用黑暗中从停尸房偷来的尸体残骸，完成了他的“创造”，变成了一个丑陋畸形的人形。他对自己的所作所为感到震惊，立即睡着了，以躲避昏迷。但这是：
The action of the tale begins when Frankenstein is about to go out into the world, as a young student at the University of Ingoldstadt. On the eve of his departure, as an omen, his mother and Elizabeth, the two representatives of the feminine in his life, both fall desperately ill. His mother dies, but Elizabeth eventually recovers. At the university he falls under the spell of various occult treatises, and becomes possessed by a Faust-like longing to ‘penetrate the secrets of nature’. ‘The raising of ghosts or devils was a promise liberally afforded by my favourite authors, the fulfilment of which I most eagerly sought’. Having found his ‘Focus’, the hero shuts himself away for months during a glorious summer, to work on his shadowy task: ‘who shall conceive the horrors of my secret toil, as I dabbled among the unhallowed damps of the grave or tortured the living animal to animate the lifeless clay’. At last, from the remains of corpses stolen from charnel houses in the hours of darkness, he completes his ‘creation’, in the hideously deformed shape of a man. Appalled by what he has done, he instantly takes refuge in unconsciousness by falling asleep. But this is:
'被最疯狂的梦想所困扰。我想我看到了伊丽莎白，她正健康地走在英戈尔施塔特的街道上。我既高兴又惊讶地拥抱了她，但当我将初吻印在她的嘴唇上时，她的嘴唇变得苍白，呈现出死亡的色调；她的面容似乎发生了变化，我以为我怀里抱着的是我死去母亲的尸体；裹尸布包裹着她的身体，我看到坟墓里的蠕虫在法兰绒的褶皱里爬行。
‘disturbed by the wildest dreams. I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingoldstadt. Delighted and surprised, I embraced her, but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave worms crawling in the folds of the flannel.’
他从噩梦中醒来，看到“我创造的悲惨怪物”站在床边，咧着嘴笑，试图发出含糊不清的声音，并伸出一只手表示友谊。弗兰肯斯坦吓坏了，冲到街上，第二天早上他回来时，怪物已经不见了。
He wakes from this nightmare to see ‘the miserable monster whom I had created’ standing by the bed, grinning, trying to utter inarticulate sounds and stretching out a hand in friendship. Frankenstein is horrified, rushes out into the street and, when he returns next morning, the monster is gone.
这是讲故事史上前所未有的一个开场。我们首先看到英雄在一个快乐、天真的“上层世界”，周围环绕着他的光明家庭；然后，当他陷入黑暗的“下等领域”时，他孤立了自己，在那里他自己诞生了一个怪物。在怪物即将复活的那一刻，他的噩梦背叛了正在发生的事情的真实本质，因为他看到了自己的阿尼玛伊丽莎白，他对未来完整和生命的希望，融入了“黑暗母亲”的恐惧之中，他与她陷入了死亡的拥抱。但随后发生了更能说明问题的事情。当他第一次看到怪物时，它微笑着并向他伸出友好的手。这是英雄与怪物之间通常关系的完全颠倒：在这里，英雄变得黑暗和孤立，梦想着赢得权力和神秘知识；而怪物只希望得到友谊和同情，以他丑陋、低等的形式代表了自我。弗兰肯斯坦拒绝了怪物，怪物就消失了。第二天，他快乐的儿时朋友克莱瓦尔出人意料地出现在英戈尔德施塔特，里面充满了弗兰肯斯坦的家和家人的消息，还有一张照片善良的正常性：他现在代表了英雄天真无邪的“光明的另一个自我”，如果英雄没有被诱惑进入他的黑暗和秘密路线，他可能会成为他的自我。
Here is an opening unlike any before it in the history of storytelling. We see the hero first in a happy, innocent ‘upper world’, surrounded by his light family; then isolating himself as he plunges down into the dark ‘inferior realm’ where he himself brings to birth a monster. At the moment where the monster is about to come to life, his nightmare betrays the true nature of what is happening, as he sees his anima Elizabeth, his hope of future wholeness and life, dissolving into the horror of the ‘Dark Mother’, with whom he is locked in a deathly embrace. But then something even more revealing happens. When he first sees the monster, it smiles and puts out a friendly hand to him. Here is a complete inversion of the usual relationship between hero and monster: here it is the hero who has become dark and isolated, in his dream of winning power and occult knowledge; while the monster, wishing only for friendship and fellow-feeling, represents, in his hideous, inferior form, the Self. Frankenstein rejects the monster, which disappears. The next day there unexpectedly appears in Ingoldstadt his cheerful boyhood friend Clerval, full of news of Frankenstein’s home and family, a picture of kindly normality: he now represents the hero’s innocent ‘light Alter-Ego’, the Self the hero might have been had he not been tempted into his dark and secret course.
从表面上看，弗兰肯斯坦的生活在克莱瓦尔的帮助下恢复了正常。一切看起来都很好。但在表面之下，他已经向黑暗的力量做出了致命的投降。从拒绝怪物友好提议的第一个关键行为开始，他生活中的其他一切都将随之而来。弗兰肯斯坦不知道的是，这个怪物已经秘密隐居山中，通过偷听农民的谈话，他首先学会了如何说话，然后设法阅读了人类的伟大书籍。他决心成为一个完整、正确的人，对全人类充满最高尚和仁慈的感情。但当他最终敢于面对一些人类时，他们却厌恶地避开了他。怪物被这第二次拒绝的行为压垮了，现在对他的创造者产生了可怕的复仇情绪。他从山上下来，找到了弗兰肯斯坦的弟弟威廉，并杀死了他。弗兰肯斯坦完全清楚谁是凶手，他无情地看着男孩可爱的保姆因犯罪受审并被处决。孩子和无辜的小女孩成为第一批受害者。
Outwardly Frankenstein’s life, under the ministrations of Clerval, returns to normal. All seems well. But beneath the surface, he has made his fatal surrender to the powers of darkness. From that first crucial act of rejection of the monster’s friendly overture, everything else in his life is to follow. Unknown to Frankenstein, the monster has retired secretly into the mountains, where by eavesdropping on peasants he first learns how to speak, then manages to read the great books of mankind. He is determined to become a full, proper human being, imbued with the most noble and benevolent feelings towards all mankind. But when he finally dares to confront some human beings, they recoil from him in revulsion. Crushed by this second act of rejection, the monster is now fired with terrible feelings of vengeance against his creator. He comes down from the mountains, tracks down Frankenstein’s little brother, William, and kills him. Frankenstein, fully aware of who must have committed the murder, heartlessly watches while the boy’s loving nursemaid is tried and executed for the crime. The Child and the Innocent Young Girl have become the first victims.
随后，弗兰肯斯坦对怪物进行了长时间的采访，怪物解释说，他唯一的愿望就是过着有道德的生活，不伤害任何人。他要求他的创造者为他塑造一个女性“怪物”作为他的伴侣，他可以和她一起消失到世界的某个偏远地区，再也不会打扰弗兰肯斯坦。英雄同意了，并退休到奥克尼群岛的一间小屋，开始工作。当他看到怪物透过窗户窥视他时，他几乎完成了怪物的“另一半”。一想到他的两个创造物聚集在一起繁殖，并且给世界带来怪物，他就惊慌失措并毁掉了他的杰作。
Frankenstein then has a long interview with the monster, who explains that his only desire is to live virtuously without harming anyone. He asks his creator to fashion a female ‘monster’ as a companion for him, with whom he can disappear to some remote region of the world and never trouble Frankenstein again. The hero agrees, and retires to a cottage in the Orkneys where he sets to work. He has almost completed the monster’s ‘other half’ when he sees the monster peering in at him through a window. At the thought of his two creations getting together to reproduce, and to people the world with monsters, he panics and destroys his handiwork.
怪物心碎了，根据三法则，第三次拒绝，弗兰肯斯坦最后的黑暗行为，决定了英雄的命运。首先，怪物谋杀了光明的另一个自我克莱瓦尔。然后，当弗兰肯斯坦与他美丽、平静、可爱的伊丽莎白结婚时，怪物也在他们的新婚之夜谋杀了她。最后弗兰肯斯坦的父亲因悲伤而去世。英雄现在通过他的影子，对孩子、无辜的年轻女孩、另一个自我、善良的老人/父亲以及最重要的是他自己的“另一半”、他的阿尼玛的死亡负责。。他自己所有的光明面都被消灭了。一直以来，弗兰肯斯坦都是故事中唯一真正黑暗的人物：尽管，就像多里安·格雷的肖像一样，这个怪物已经变得越来越邪恶，反映出越来越大的黑暗吞噬了英雄。和格雷一样，弗兰肯斯坦最终在绝望中决定永远摆脱他可恨的阴影。在一场噩梦般的追逐中，他跨越半个世界追击怪物，一直深入到冰冻的北极荒原——但在那里，怪物向他发起攻击并摧毁了他，然后在冰面上永远消失了。
The monster is heartbroken, and by the Rule of Three this third rejection, Frankenstein’s final dark act, seals the hero’s fate. First the monster murders Clerval, the light Alter-Ego. Then, when Frankenstein has married his beautiful, calm, loving Elizabeth, the monster murders her too, on their wedding night. Finally Frankenstein’s father dies of grief. The hero has now been responsible, through his shadow, for the deaths of the Child, the Innocent Young Girl, the Alter-Ego, the Good Old Man/Father and, above all, his own ‘other half’, his anima. All the light aspects of himself have been killed off. All along, Frankenstein had been the only truly dark figure in the story: although, like Dorian Gray’s portrait, the monster has become more and more evil as a reflection of the ever greater darkness engulfing the hero. Like Gray, Frankenstein at last in desperation determines to free himself from his hated shadow forever. In a nightmare chase, he pursues the monster half across the world, up into the frozen Arctic wastes – but there it is the monster which turns on him and destroys him, before vanishing forever across the ice.
这个噩梦般的故事最让我们震惊的是，它如何将熟悉的、古老的克服怪物情节模式以各种可以想象的方式颠倒过来。它以黑暗的英雄和光明的怪物开始；并以英雄被战胜而结束怪物，而不是相反。接下来的问题是：这样一个极其黑暗、颠倒的故事是如何进入一个从未写过任何东西的年轻女孩的脑海中的？正如许多评论家所观察到的，答案很大程度上取决于雪莱本人的个性，她是玛丽·戈德温一生中迄今为止最具主导地位的人物。
The most obvious thing which may strike us about this nightmarish tale is how it takes the familiar, age-old pattern of the Overcoming the Monster plot and turns it in every conceivable way upside down. It begins with a hero who is dark and a monster who is light; and ends with the hero being overcome by the monster, rather than the other way around. The question which then arises is: how did such an extraordinarily dark, inverted story come into the mind of a young girl who had never written anything before in her life? A good deal of the answer, as various commentators have observed, lies in the personality of the man who was by far the most dominating presence in Mary Godwin’s life, Shelley himself.
《弗兰肯斯坦》中的许多场景和细节不仅直接源于玛丽和雪莱两年前第一次私奔以来的生活。他本人对这个故事产生了浓厚的兴趣，并在 1817 年出版后匿名评论该故事时明确表示，他对这个怪物有多么的认同，因为他是环境的不幸受害者，他只希望仁慈地与人类共处。因此不断受到迫害和拒绝的阻碍。正如雪莱所说，“在社会上”，这样残酷的命运常常降临到“那些最有资格成为社会的恩人和装饰品的人”。
Not only did a great many of the scenes and details in Frankenstein spring directly from Mary’s life with Shelley since they had first eloped together two years earlier. He himself took a profound interest in the story, making clear, when he reviewed it anonymously after its publication in 1817, how much he identified with the monster, as a hapless victim of circumstances whose wish only to live benevolently and at one with mankind had so continually been thwarted by persecution and rejection. ‘Too often in society’, as Shelley put it, such a cruel fate is meted out to ‘those who are best qualified to be its benefactors and its ornaments’.
当然，到了这个时候，雪莱已经发现自己在各个方面都与社会发生了激烈的冲突。在他性格中男性化的一面，他与父亲、僵硬、传统的从男爵以及各种权威人物（从管理他的大学的人到政府特工）进行了可怕的斗争。雪莱怀着革命的梦想，推翻既定的秩序，并对残酷的父权制上帝的概念感到恐惧，他似乎在各个方面与“父亲”的世界交战。但就他与女性的关系而言，他混乱的爱情生活同样表现出他的茫然。与第一任妻子哈丽特私奔后，他发现有必要同时与两个女人发生感情，于是他抛弃了她们，并重复了这个模式，
Certainly by this time in his life Shelley had found himself violently at odds with society in every possible way. On the masculine side of his personality, there had been the terrible battles with his father, the stiff, conventional baronet, and with authority-figures of every kind, from those running his university to government agents. With his dreams of revolution, overthrowing the established order, and his horror at the notion of a cruel, patriarchal God, Shelley seemed at war with the world of ‘Father’ in all its aspects. But in terms of his relations with the feminine, his chaotic love-life showed him equally at sea. Having eloped with his first wife Harriet, and then found it necessary to be involved emotionally with two women at the same time, he cast them both off and repeated the pattern, by eloping with Mary herself and her half-sister Claire (although by the time the story was written Claire was also flinging herself at Byron, by whom she immediately became pregnant).
雪莱可能有意识地将自己等同于《弗兰肯斯坦》中那个可怜的、被拒绝的、想要仁慈的怪物但从外表上看，他更像是弗兰肯斯坦本人，被一种恶魔般的、盲目的自我中心所占据，随着岁月的流逝，这种自我中心使他自己和周围人的生活进一步陷入混乱和噩梦。瑞士事件发生仅几个月后，死亡事件就开始发生：首先是玛丽的妹妹范妮（与雪莱有过一段短暂的恋情）自杀，然后是他被遗弃且心烦意乱的妻子哈丽特自杀。两年后，他们深爱的威廉与玛丽所生的小儿子在四岁时去世。随后，与他关系密切的人相继死亡，这与故事中弗兰肯斯坦周围每个人的死亡几乎不可思议地相呼应：直到 1821 年意大利那个决定命运的夏天终于来临。
Shelley may have consciously identified himself with the poor, rejected, would-be benevolent monster in Frankenstein: but from the outside it seems that he was much more like Frankenstein himself, possessed by a demonic, blind egotism which, as the years went by, plunged his own life and that of those around him ever further into chaos and nightmare. Only a few months after the episode in Switzerland, the deaths began: with the suicides, first of Mary’s sister Fanny, with whom Shelley had had a brief affair, then of his abandoned and distracted wife Harriet. Two years later his little son by Mary, their beloved William, died at the age of four. Other deaths of those close to him followed, in an almost uncanny echo of the deaths of everyone around Frankenstein in the story: until finally came that fateful summer in Italy in 1821.
经过数周的躁狂抑郁症，充满了可怕的死亡梦境和自杀念头（以及玛丽流产了另一个孩子）后，雪莱鲁莽地将他的船唐璜号开进了猛烈的地中海风暴的牙齿，在全力以赴的情况下，帆。这位“现代普罗米修斯”，这位“永远长不大的男孩英雄”，公然招致了自己和他的两个同伴的毁灭。阅读理查德·福尔摩斯在《雪莱：追寻》中对他生命最后几年和几周的全面记述，人们可能会想到，历史上很少有人能更深刻、更戏剧性地把自己变成自己的“怪物”。而且比雪莱本人更不知不觉。从这个意义上说，他妻子 1816 年的噩梦故事就像是对她所爱的男人已经发生的事情的可怕预感；仅仅五年后，他们的共同生活就达到了可怕的高潮。
After weeks of manic-depression, shot through with fearful death-laden dreams, thoughts of suicide (and Mary’s miscarriage of another child), Shelley recklessly took out his boat, the Don Juan, into the teeth of a violent Mediterranean storm, under full sail. The ‘Modern Prometheus’, the ‘boy hero who could never grow up’, had defiantly invited his own destruction, along with that of his two companions. Reading Richard Holmes’s comprehensive account of those last years and weeks of his life in Shelley: The Pursuit, one may reflect that few people in history can have turned themselves into their own ‘monster’ more poignantly, more dramatically and more unwittingly than Shelley himself. In this sense his wife’s nightmare story in 1816 was like a horrendous premonition of what was already happening to the man she loved; and of how their life together would, only five years later, come to its awful climax.
白鲸：杀死自我的追求
Moby Dick: The quest to slay the Self
“当最后一天，他们面对面时，哪个是怪物？莫比·迪克（Moby Dick）的“温柔的欢乐”，他的“强大的温和的休息”，还是亚哈（Ahab）尖叫着他疯狂的反抗？麦尔维尔完全蔑视三千年历史的神话模式，允许屠龙者被杀死，龙得以活着；但很难说他是否真的颠覆了传说，让邪恶得以生存，让英雄主义灭亡。只有亚哈相信鲸鱼代表邪恶，而亚哈既疯狂又该死……亚哈必须死，正是因为他寻求他者的死亡……”。
‘When, on the last day, they confront each other, which is the Monster? Moby Dick in his “gentle joyousness”, his “mighty mildness of repose”, or Ahab screaming his mad defiance? In complete contempt of the three-thousand-year-old pattern of myth, Melville permits the dragon-slayer to be slain, the dragon to escape alive; but it is hard to tell whether he really stands the legend on its head, allows evil to survive and heroism to perish. Only Ahab believes that the whale represents evil, and Ahab is both crazy and damned ... it is Ahab who must die, precisely because he has sought the death of the Other ...”.
莱斯利·费德勒，美国小说中的爱与死亡
Leslie Fiedler, Love and Death in the American Novel
赫尔曼·梅尔维尔的《白鲸》（1851）是一部比我们在本章之前看过的任何小说都重要得多的文学作品，这使得它成为有史以来最黑暗的故事之一。
Hermann Melville’s Moby Dick: or The White Whale (1851) is a much weightier work of literature than any of the novels we have looked at previously in this chapter, which is what helps to make it one of the darkest stories ever written.
“叫我以实玛利”。爆炸性的开场白通过引用《创世记》（十六）中典型的被排斥者的形象，奠定了这本书的黑暗基调，“他的手反对每个人，每个人的手也反对他”。但最终我们发现，叙述者以实玛利并不是故事的中心人物，而只是一个奇怪的被动观察者。作为一个穿越美国东海岸城市的无根漂流者，他决心通过参加横跨世界各大洋的长途捕鲸航行来摆脱生活中令人沮丧的漫无目的的生活。在这方面，这本书的开头就像一个航行和返回的故事：一个不完整、不充分的英雄正在让自己面临一些破碎的、改变生活的经历。
‘Call me Ishmael’. The explosive opening line sets the book’s dark tone by invoking the archetypical outcast from Genesis (XVI), ‘whose hand is against every man, and every man’s hand is against him’. But it eventually becomes apparent that the narrator Ishmael is not so much the story’s central figure as just a curiously passive observer. A rootless drifter through the cities of East Coast America, he has resolved to escape the depressing aimlessness of his existence by signing on for a long whaling voyage across the oceans of the world. In this respect, the book begins like a Voyage and Return story: an incomplete, inadequate hero is laying himself open to some shattering, life-transforming experience.
这个故事实际上分为两个完全独立的部分。第一个故事通过开头几章展开，发生在陆地上，当时以实玛利前往新英格兰寻找一艘捕鲸船。故事的主角是他与奎奎格的遭遇，奎奎格是一位深色皮肤、有纹身的南海岛民，他拥有他的阳具偶像和他收集的缩小的人头。当这个可怕的“野蛮人”第一次在晚上闯入一个名叫科芬的人开的旅馆里和他同床共枕时，以实玛利感到害怕。但当他们进行了详细的交谈，并在“魁魁格用最有爱和最深情的方式用手臂搂住我”的情况下过夜时，“你几乎以为我是他的妻子”，他们是“舒适、充满爱的一对” '。
The story really divides into two quite separate parts. The first, unfolding through the opening chapters, takes place on land, when Ishmael travels up to New England to find a whaling ship. It is dominated by his encounter with Queequeg, the dark-skinned tattooed South Sea islander with his phallic idol and his collection of shrunken human heads. When the fearsome ‘savage’ first bursts in at night to share his bed, in the inn owned by a man called Coffin, Ishmael is terrified. But by the time they have talked at length, and spent the night with ‘Queequeg’s arm thrown over me in the most loving and affectionate manner’ so ‘you had almost thought I had been his wife’, they are a ‘cosy, loving pair’.
在这个奇异的开场中，我们可能会看到世界上最古老的故事《吉尔伽美什史诗》的回响，英雄在心理上还没有准备好踏上穿越世界的旅程，杀死可怕的洪巴巴，直到他遇到、与之战斗并最终学会了这一点。去爱在旅途中陪伴他的影子另一半：“野人”恩基杜，他生活在动物之中自然。我们还看到了白人英雄与黑人或印度同伴之间结盟的例子，莱斯利·费德勒认为这是美国文学中反复出现的主题（例如哈克贝利·费恩与逃亡黑人奴隶吉姆之间的友谊）。这种二元性几乎总是代表着两半结合在一起形成一个潜在的整体。与自然分离的“文明”白人代表了“自我意识”，尽管有其局限性。他的黑皮肤同伴更接近自然和本能世界，体现了感觉和直觉的“女性”价值观，代表了英雄与之分离的“黑暗无意识”。两者都是实现整体所必需的。但在《莫比迪克》中以实玛利和奎奎格的新伙伴关系并不是以实玛利成熟到最终自我实现的前奏，这可能提供了故事的中心主题。因为当他们签约成为“裴阔德”号船员时，以实玛利和奎魁格或多或少地淡出了幕后。这就是故事的真正主题开始出现的地方。
In this bizarre opening we may see an echo of the oldest story in the world, the Epic of Gilgamesh, where the hero is not psychologically ready for his journey across the world to slay the monstrous Humbaba until he has met, fought with and finally learned to love the shadowy other half who is to be his companion on the journey: the ‘wild man’ Enkidu, who has lived among the animals in a state of nature. We also see an instance of that alliance between a white hero and a black or Indian companion which Leslie Fiedler identified as such a recurring theme in American literature (as in the friendship between Huckleberry Finn and the runaway black slave Jim). This duality almost invariably represents the coming together of two halves to make a potential whole. The ‘civilised’ white man, separated from nature, represents ‘ego-consciousness’, with all its limitations; his dark-skinned companion, closer to nature and the world of instinct, embodying the ‘feminine’ values of feeling and intuition, represents the ‘dark unconscious’ from which the hero has become split off. Both are necessary to achieve the whole. But in Moby Dick the new partnership of Ishmael and Queequeg is not a prelude to the process of Ishmael’s maturing to eventual Self-realisation, which might have provided the central theme of the story. For at the moment where they sign on as crew-members of the Pequod, Ishmael and Queequeg more or less fade into the background. This is where the the real theme of the story begins to take over.
从以实玛利选择三桅裴廓德号（“为期三年的航行”中的第三艘船）的那一刻起，很少有小说比《白鲸记》更公开地体现了“三法则”。这艘船有三名白人作为副手，每人都带着他的“暗色”鱼叉手：北美印第安人塔什特戈、美国黑人达古和波利尼西亚人奎奎格。船员们是如此的国际化，代表了世界上所有的种族，这是人性的缩影。但它的中心人物是单腿的“偏执狂”暴君亚哈船长。从船员们“三声沉重的欢呼”起，这艘船“像命运一样盲目地坠入孤独的大西洋”那一刻起，他的黑暗迷恋的压倒性力量就主导了故事的其余部分。
Few novels are more overtly shot through with the ‘rule of three’ than Moby Dick, from the moment Ishmael chooses the three-masted Pequod, the third of ‘three ships up for three-year’s voyages’. The ship has three white men as mates, each with his ‘dusky’ harpooner: Tashtego the North American Indian, Dagoo the black American, Queequeg the Polynesian. The crew is so cosmopolitan, representing all the races of the world, that it is a microcosm of humanity. But its central figure is the one-legged, ‘monomaniac’ Tyrant, Captain Ahab. The overwhelming power of his dark obsession, from the moment when, with ‘three heavy-hearted cheers’ from its crew, the ship ‘blindly plunged like fate into the lone Atlantic’, dominates the rest of the story.
我们很快了解到这本书真正的塑造情节是任务和克服怪物的结合。当亚哈召集了他的船员，并在主桅上钉了一块西班牙金币时，他揭示了他们旅程的真正目的：追踪并报复多年前在亚哈的三艘捕鲸船上烧过的“该死的白鲸”并“收获”他的腿“就像割草机在田野里割草一样”。金牌是奖励给第一个看到目标的人的。当亚哈第一次向他们讲述莫比迪克时，我们毫不怀疑，这种“奸诈”、丑陋畸形的生物，有着巨大的驼背、畸形的下巴、右舷尾翼上的三个洞，是一种典型的怪物。亚哈为船员们准备了朗姆酒，并召集了三位副手和他们的鱼叉手，模仿宗教仪式，
We soon learn that the real shaping plot of the book is a combination of a Quest and Overcoming the Monster. When Ahab assembles his crew and nails to the mainmast a Spanish gold piece, he unfolds the real purpose of their journey: to track down and take vengeance on the ‘accursed white whale’ which years before had stove in three of Ahab’s whaleboats and ‘reaped away’ his leg ‘as a mower a blade of grass in the field’. The gold is to be the prize for he who first sights their goal. And when Ahab first tells them of Moby Dick, we are left in no doubt that this ‘treacherous’, hideously deformed creature, with its massive humped back, its misshapen jaw, three holes in its starboard fluke, is an archetypal monster. Calling up rum for the crew, Ahab summons the three mates with their harpooners and, in a parody of a religious ceremony, adjures them to a solemn oath:
“现在你们三对三站着。赞扬凶残的圣杯……喝下并发誓，你们这些操纵致命捕鲸船船头的人——莫比·迪克之死！如果我们不追杀莫比·迪克，上帝就会追捕我们所有人！”
‘now three to three ye stand. Commend the murderous chalices ... drink and swear, ye men that man the deathful whaleboat’s bow – Death to Moby Dick! God hunt us all if we do not hunt Moby Dick to his death!’
我们逐渐了解到，这个“我和其他所有人都发誓要对其进行暴力和复仇的凶残怪物”远比任何凡人生物都要强大。它不仅是“一头异常巨大和凶猛的抹香鲸”，在七大洋的几乎每个地方都造成了无数水手受伤或死亡；它激发了如此迷信的恐惧，以致有：
We gradually learn that this ‘murderous monster against whom I and all the others had take our oaths of violence and revenge’ is far more than any mortal creature. Not only is it ‘a Sperm Whale of uncommon magnitude and malignity’, which has caused injury or death to countless mariners in almost every part of the seven seas; it has inspired such superstitious dread that there was an:
“莫比迪克无处不在的超凡自负；他实际上是在同一时刻在相反的纬度遇到的。
‘unearthly conceit that Moby Dick was ubiquitous; that he had actually been encountered in opposite latitudes at one and the same instant of time.’
这种奇幻生物的反常现象表明，甚至它的颜色也暗示了它的奸诈本性。正如以实玛利回忆的那样，“最让我震惊的是鲸鱼的白色”；在阐述白色通常与纯真、纯洁和光明联系在一起的颜色如何常常成为残酷、险恶和黑暗的面具之前。
Such an inversion of normality does this phantasmagoric creature represent that even its colour is a clue to its treacherous nature. As Ishmael recalls, ‘it was the whiteness of the whale that above all things appalled me’; before holding forth on how the colour white, commonly associated with innocence, purity and light, can often be a mask to what is cruel, sinister and dark.
从这里开始，叙事在两个对位主题之间交替。在“上层”，我们跟随裴阔德号上发生的人类戏剧，在船长的恶魔般的痴迷驱使下，它继续穿越海洋荒原，寻找难以捉摸的目标；这是一次充满各种预兆和不祥预感的旅程，就像当船只出发去追逐第一头鲸鱼时，我们突然看到亚哈“被五个似乎是从空气中新鲜形成的昏暗幻影包围”。这些是他偷偷带上的神秘船员，负责管理自己的捕鲸船，由奇怪险恶的费达拉领导，他“又高又黑”，“钢铁般的嘴唇”中“邪恶地伸出了一颗白牙”。
From here on, the narrative alternates between two themes in counterpoint. On the ‘upper level’ we follow the human drama of what is happening on the Pequod, as it continues across the ocean wastes in search of their elusive goal, driven by the demonic obsession of its captain; a journey fraught with every kind of omen and foreboding, like the moment when, as the boats are launched to chase their first whale, we see Ahab suddenly ‘surrounded by five dusky phantoms that seemed fresh formed out of air’. These are the mysterious additional crew he has smuggled on board to man his own whaleboat, led by the strangely sinister Fedallah, ‘tall and swart’, with ‘one white tooth evilly protruding’ from his ‘steel-like lips’.
但在第二个“线下”层面上，我们逐渐了解更多关于鲸鱼的知识，这些奇妙而神秘的深海生物居住在地表以下的“低等领域”，捕鲸者将他们的生命奉献给了它们的死亡和毁灭。当我们这样做时，我们所看到的鲸鱼的形象就会发生微妙的变化。
But on a second ‘below the line’ level we gradually learn more about whales, these wondrous, mysterious creatures of the deeps inhabiting the ‘inferior realm’ below the surface, to whose death and destruction the whale hunters devote their lives. As we do so, the picture we are being given of whales subtly changes.
例如，这本书的一个亮点是，船员们发现自己被一大群平静的鲸鱼包围，覆盖了几平方英里。在外缘，他们放下捕鲸船的地方，怪物们正在惊慌和剧烈的骚乱中打谷。但当奎魁格用鱼叉刺中一条鲸鱼时，鲸鱼把他和以实玛利的船“拖进了浅滩的最深处，就好像我们从山洪中滑入了宁静的山谷湖泊”。
A highlight of the book, for instance, is the time when the crew find themselves caught up in and surrounded by a vast becalmed armada of whales, covering several square miles. On the outer rim, where they lower the whaleboats, the monsters are threshing about in panic and violent commotion. But when Queequeg harpoons a whale, it draws his and Ishmael’s boat ‘into the innermost heart of the shoal, as if from some mountain torrent we had slid into a serene valley lake’.
在这里，在一种“迷人的平静”中，他们看到了近乎神秘的景象，因为他们看到母鲸和它们的小鲸鱼离船如此之近，以至于奎奎格能够“拍拍它们的额头”。
Here, in an ‘enchanted calm’, they have an almost mystical vision, as they see the mother whales and their young calves coming up so close to the boat that Queequeg is able to ‘pat their foreheads’.
但在这个奇妙的表面世界的深处，当我们凝视船舷时，另一个更加陌生的世界映入我们的眼帘。因为，在那些水汪汪的穹顶里，漂浮着鲸鱼哺乳期母亲的身影，而那些体型巨大的鲸鱼似乎很快就会成为母亲。
‘But far beneath this wondrous world upon the surface, another and still stranger world met our eyes as we gazed over the side. For, suspended in those watery vaults, floated the forms of the nursing mothers of the whales, and those that by their enormous girth seemed shortly to become mothers.’
当他们惊讶地看着这些母亲“静静地看着我们”，而他们的后代在半透明的海水中嬉戏时，
As they watch in amazement at these mothers ‘quietly eying us’, while their off-spring gambolled around in the translucent waters,
“海洋中一些最微妙的秘密似乎在这个迷人的池塘里向我们透露了。我们在深海中看到了年轻的利维坦铠甲。因此，尽管被一圈又一圈的惊愕和恐惧所包围，这些位于中心的难以捉摸的生物却自由而无畏地沉迷于所有和平的关心之中，是的，平静地陶醉在调情和欢乐中。
‘some of the subtlest secrets of the seas seemed divulged to us in this enchanted pond. We saw young Leviathan amours in the deep. And thus, though surrounded by circle upon circle of consternations and affrights, did these inscrutable creatures at the centre freely and fearlessly indulge in all peaceful concernments, yes, serenely revelled in dalliance and delight.’
这是一种和平、欢乐和纯真的景象，更令人震惊，因为它几乎是对这个坚硬、黑暗、片面的男性故事中柔软、充满爱心的女性世界的独特一瞥。如此无情的男性色彩这本书中几乎没有女性角色（除了一个忙碌的“贵格会妇女”，她试图在他们还在港口时提供家庭必需品）。甚至人际关系中的男女平衡也必须被压缩到纯粹的男性束缚中，就像以实玛利和魁魁格之间几乎公开的同性恋伴侣一样，当他们像一对“舒适、相爱”的已婚夫妇一样睡在彼此的怀里时。只有当我们瞥见母鲸和它们的后代时，我们才能看到“女性”公开而明确地呈现出来，尽管即使在这里，它也只是以海面以下动物世界的“低等”形式出现。
It is a vision of peace, joy and innocence, all the more shocking because it is an almost unique glimpse of the world of the soft, loving feminine in this otherwise hard, dark, one-sidedly masculine story. So relentless is the masculine colouring of the book that it contains almost no female characters at all (apart from a busy-bodying ‘Quaker woman’ who tries to provide homely necessaries when they are still in port). Even the masculine-feminine balance in human relationships has to be squeezed into a solely masculine straitjacket, as in the almost overtly homosexual companionship between Ishmael and Queequeg, when they sleep in each other’s arms like a ‘cosy, loving’ married couple. Only when we catch a glimpse of the mother whales and their offspring do we see the ‘feminine’ presented openly and unambiguously, although even here it is only in the ‘inferior’ form of an animal world seen below the surface of the sea.
事实上，当“裴阔德”号的船员们出于怀疑从一艘法国船上夺回一头散发着恶臭、腐烂的鲸鱼尸体时，我们几乎立即对鲸鱼所代表的隐藏的赋予生命的价值有了一种截然不同的看法。埋藏在其深处的可能是龙涎香，这种物质非常珍贵，价值“一盎司金几内亚”。果然，突然间，从这堆腐烂的东西的中心，“偷走了一股淡淡的香水味”。一股甜甜的龙涎香扑鼻而来，与周围的腐臭味形成鲜明对比，显得更加浓郁。
In fact we almost immediately have a rather different sight of the hidden life-giving values the whales represent when, by a trick, the crew of the Pequod manage to wrest the stinking, decaying corpse of a whale off a French boat, on the suspicion that, buried in its depths, may be ambergris, that substance so precious that is worth ‘a gold guinea an ounce’. Sure enough, suddenly, from the heart of this rotting mass, ‘there stole a faint stream of perfume’. Out come handfuls of sweet-smelling ambergris, all the more powerful for the contrast with the reek of putrescence which surrounds it.
我们再次进入奇怪的场景，捕获并斩首抹香鲸，并从其头部取出“精子”，“海德堡图恩的巴陵，或凯斯”，我们看到以实玛利和其他人坐在甲板上，滚动并用手挤压柔软的精子，被他们的“甜蜜而油腻的责任”所感动，这就像另一个神秘的幻象：
Again we move on to the strange scene where, having captured and decapitated a sperm whale, and removed the ‘sperm’ from its head, ‘The Baling of the Heidelburgh Tun, or Case’, we see Ishmael and others sitting on deck, rolling and squeezing the soft sperm in their hands, so transported by their ‘sweet and unctous duty’ that it is like another mystical vision:
当我盘腿坐在甲板上时；在绞盘上辛苦劳作之后；宁静的蓝色天空下；船在慵懒的帆下，如此平静地滑行；当我把双手浸入这些柔软、温和的渗透组织球中时，这些组织几乎在一小时内就编织好了；当它们在我的手指上丰富地破裂时，释放出它们所有的丰富性，就像完全成熟的葡萄酿成的酒一样；当我闻到那种未受污染的香气时，它确实像春天紫罗兰的气味；我向你宣布，我当时的生活就像是在一片充满麝香的草地上；我忘记了我们可怕的誓言；在那难以形容的精子中，我洗净了我的手和我的心……我感到神圣地摆脱了所有的恶意、任性或恶意，任何形式的。
‘As I sat there at my ease, cross-legged on the deck; after the bitter exertion at the windlass; under a blue tranquil sky; the ship under indolent sail and gliding so serenely along; as I bathed my hands among these soft, gentle globules of infiltrated tissues, woven almost within the hour; as they richly broke to my fingers and discharged all their opulence, like fully ripe grapes their wine; as I snuffed that uncontaminated aroma literally and truly like the smell of spring violets; I declare to you that for the time I lived as in a musky meadow; I forgot all about our horrible oath; in that inexpressible sperm, I washed my hands and my heart of it ... I felt divinely free from all ill-will, or petulance, or malice, of any sort whatever.’
但即使是这个神秘的欢乐时刻，当以实玛利想象全人类团结在一起时——“让我们把自己普遍地挤进仁慈的乳汁和精子中”——也是以小皮普（黑人船舱男孩）失去他的代价为代价的。在追逐提供精子的鲸鱼时，人们惊恐万分。“精子”这个双关语本身就带有同性恋的意味。我们很快又回到了另一个严酷、荒凉、无情的以人为中心的世界，全神贯注于死亡和破坏，充满不祥的预感，这主导了大部分叙事。
But even this mystically joyous moment, when Ishmael imagines all the human race at one – ‘let us squeeze ourselves universally into the very milk and sperm of kindness’ – has been bought at the price of little Pip, the black cabin boy, losing his wits in terror during the chase of the whale which provided the sperm. The double-entendre of ‘sperm’ in itself carries homoerotic echoes. And we are soon back into that other harsh, bleak, pitiless man-centred world, preoccupied with death and destruction, chequered with foreboding, which dominates most of the narrative.
故事后半部分的大部分结构都是围绕与其他捕鲸船的连续会面而建立的，每艘捕鲸船都来自不同的国家，再次传达了我们在这里与全人类会面的感觉。每一个都受到日益疯狂的亚哈的欢迎，希望它能得到莫比迪克下落的消息。每一次的遭遇都会为决赛做准备高潮。美国杰里波安号的大副被白鲸夺去了，船员们受到了一名宗教狂热分子的恐吓，他警告亚哈也会遭遇类似的死亡。塞缪尔·恩德比号的英国船长因莫比·迪克而失去了一只手臂，不久之后奎奎格似乎病入膏肓，并下令为他制作棺材，然后他奇迹般地康复了。
Much of the structure of the latter part of the story is built round the successive meetings with other whaling ships, each from a different nation, again conveying the sense that we are here meeting all the human race. Each is hailed by the increasingly mad Ahab in hope that it might have news of the whereabouts of Moby Dick. And each encounter in turn adds to the build-up towards the final climax. The American Jereboam had lost its first mate to Moby Dick, and its crew have been terrorised by a religious fanatic who warns of a similar death for Ahab. The English captain of the Samuel Enderby has lost an arm to Moby Dick, and shortly afterwards Queequeg falls seemingly mortally sick and orders his coffin to be made, before he miraculously recovers.
最后他们进入了“伟大的南海”。这与《古水手之歌》中的那一刻并没有什么不同，当时“我们是第一个冲进那片寂静大海的人”（事实上，这两个故事之间存在深刻的象征意义的呼应，每个故事都以杀死一个生物的形象为中心，代表自然的威严和完美）。亚哈命令铁匠锻造一把特殊的鱼叉，就像黑暗版的“魔法武器”。他将其浸入三个鱼叉手的鲜血中，将其献给魔鬼和“白魔”的毁灭，这是对基督教象征意义的可怕颠倒：
At last they emerge into ‘the great South Sea’. It is not unlike that moment in The Rime of the Ancient Mariner, when ‘we were the first that ever burst into that silent sea’ (indeed there are profound symbolic echoes between the two stories, each centred on the image of killing a creature which stands for the majesty and perfection of nature). Ahab orders the blacksmith to forge a special harpoon, like the dark version of a ‘magic weapon’. Dipping it in the blood of the three harpooners, he dedicates it to the devil and to the destruction of the ‘White Fiend’ in a fearful inversion of Christian symbolism:
“自我非洗礼在名义上的帕特里斯，sed在名义上的恶魔”亚哈疯狂地嚎叫，当恶性铁灼热地吞噬了洗礼的血液时。
‘“Ego non baptizo te in nomine patris, sed in nomine diaboli” deliriously howled Ahab, as the malignant iron scorchingly devoured the baptismal blood.’
第二天下午，又有四头鲸鱼被杀死，其中一头是亚哈杀死的。当“漂浮在美丽的夕阳大海和天空中”时，亚哈的鲸鱼和太阳“一起死去”，“如此甜蜜，如此哀伤，如此缠绕的预兆卷曲在玫瑰色的空气中”，似乎风已经带走了来自某个遥远的西班牙修道院的“晚祷赞美诗”，该修道院迷失在黑暗、绿色的山谷中。同样，鲸鱼和自然世界与基督教的象征意义相同：亚哈和他的船员现在明确地要反抗一切。那天晚上，险恶的费达拉向亚哈预言，在他死之前，“你一定会在海上看到两辆灵车；” 第一个不是由凡人之手制造的；另一个由产自美国的木材制成。
The next afternoon four more whales are killed, one by Ahab. As, ‘floating in the lovely sunset sea and sky’, Ahab’s whale and the sun ‘died together’, ‘such a sweetness and such plaintiveness, such inwreathing orisons curled up in that rosy air’ it almost seems as though the wind has carried ‘vesper hymns’ from some far-off Spanish convent, lost in a dark, green valley. Again, there is the identification of whales and the world of nature with Christian symbolism: everything Ahab and his crew are now so explicitly set to defy. That night the sinister Fedallah prophesies to Ahab that, before he dies, ‘two hearses must verily be seen by thee on the sea; the first not made by mortal hands’; the other made from wood grown in America.
午夜有一场可怕的雷暴，“裴阔德”号被可怕的闪电击中，“三根高桅杆”的每一根都“像祭坛前的三个巨大的蜡锥一样燃烧”。他们遇到了雷切尔号，正如《圣经》中所描述的那样，雷切尔号“为她的孩子们哭泣”，而雷切尔号的船长正在心烦意乱地寻找被莫比·迪克迷失的捕鲸船，船上的船员中有他 12 岁的儿子。亚哈拒绝了船长帮忙搜寻的请求，当“裴廓德”号继续前进时，它遇到了“喜悦”号，携带着被打碎的捕鲸船的“几块碎片”。“看到白鲸了吗？” 呼叫亚哈。船长指着他的船的残骸，船上有五人刚刚被莫比迪克夺去生命。当最后一个的尸体被扔进海里时，裴廓德号继续航行，但欢乐号的船长及时注意到了船尾“奇怪的救生圈”的预兆，那就是奎魁格的棺材。
There is a terrifying midnight thunderstorm, when the Pequod is struck by such fearsome lightning that each of its ‘three tall masts’ are seen ‘burning like three gigantic wax tapers before an altar’. They encounter the Rachel, ‘weeping for her children’ as in the Bible, as its captain distractedly searches for the whaleboat lost to Moby Dick in which his 12-year old son had been among the crew. Ahab refuses the captain’s plea to help in the search, and as the Pequod ploughs on, it meets the Delight, carrying the ‘few splintered planks’ of its smashed whaleboat. ‘Hast seen the White Whale?’ calls Ahab. The captain points to the remains of his boat, in which five men had just been lost to Moby Dick. As the corpse of the last is thrown into the sea, the Pequod sails on, But the Delight’s captain duly notes the portent of ‘the strange lifebuoy’ at its stern, Queequeg’s coffin.
这样，伟大的探索就接近了高潮，并且与许多其他探索故事一样，它通过三个阶段展开。但它的前奏是另一个完美、和平的一天的黎明，那时“天空和海洋在那片无所不在的蔚蓝中几乎不可分割”；“沉思的空气透明地纯净而柔和，有女人的样子”；而“在高处，雪白的小鸟的翅膀在高处滑翔”，就像“女性空气中的温柔思想”凌驾于“男性海洋中强烈、混乱、凶残的思想”之上。在性别方面，故事中从未如此明确地表现出“浅色女性”和“深色男性”的对立。
Thus does the great quest approach its climax, and in keeping with so many other Quest stories, this unfolds through three stages. But its prelude is the dawn of another perfect, peaceful day, when ‘the firmaments of air and sea were hardly separable in that all-prevading azure’; the ‘pensive air was transparently pure and soft, with a woman’s look’; while ‘hither and thither, on high, glided the snow-white wings of small, unspeckled birds’ like the ‘gentle thoughts of the feminine air’ above ‘the strong, troubled, murderous thinkings of the masculine sea’. In gender terms, never before in the story has the opposition of ‘light feminine’ and ‘dark masculine’ been made so explicit.
这导致了“追逐——第一天”，当喊声响起“她吹了！” 像雪山一样的驼峰！这是莫比迪克！当船下水时，我们终于第一次看到了这个可怕的、神话般的怪物，整个故事都在引导我们走向它——它给我们带来了多么大的震撼。我们对鲸鱼的第一印象是难以形容的威严与和平，因为我们看到它在一圈“最细腻、蓬松”的泡沫中滑行，旁边还有“数百只快乐的鸟儿在海面上轻柔地飞翔”。“滑翔的鲸鱼”身上充满了“一种温柔的欢乐——一种强大的温和的休息”。朱庇特本人“确实超越了受赞誉的白鲸，因为他如此神圣地游泳”。莫比·迪克远不是我们想象中的可怕的畸形怪物，而是神一样的：一种与生命和自然融为一体的强大生物的形象；与推动宇宙的伟大精神完美和谐；超越自我的完整象征。与此完全相反的是，邪恶的疯子身上体现了人类自我的黑暗、凶残的化身，现在他一心要毁灭他。
This leads into ‘The Chase – The First Day’, when the cry goes up ‘There she blows! A hump like a snowhill! It is Moby Dick!’ As the boats are launched, we finally catch our first glimpse of this fearsome, fabulous monster towards which all the story has been leading us – and what a shock it provides. Our first vision of the whale is one of inexpressible majesty and peace, as we see him sliding along, set in a ring of ‘finest, fleecy’ foam, attended by ‘hundreds of gay fowl softly feathering the sea’. ‘A gentle joyousness – a mighty mildness of repose’ invests ‘the gliding whale’. Not Jove himself ‘did surpass the glorified White Whale, as he so divinely swam’. Far from being the fearful deformed monster we have been led to expect, Moby Dick is god-like: the image of a mighty creature at one with life and with nature; in perfect harmony with the great spirit that moves the universe; a complete symbol of the transcendent Self. And the total opposite to this is that dark, murderous embodiment of the human ego personified in the demonic madman now bent on his destruction.
正是因为亚哈世界中的一切现在都被黑暗反转所占据，一旦斗争开始，我们现在只能看到莫比迪克所代表的生命力的另一面，即自然本身黑暗的、破坏性的一面。第一天，三艘船下水了，亚哈的船在前面，鲸鱼出现在船下面，用下巴把它咬成两半。亚哈被扔进水里，其他人紧抓住残骸，直到所有人都获救。第二天早上，在《追逐——第二天》中，莫比·迪克再次出现。三艘船再次下水，这一次三名鱼叉手都将飞镖落在了他的身边。鲸鱼愤怒地向他们发起攻击，撞毁了两艘船，并掀翻了亚哈的第三艘船，他的象牙木桩也被打碎了。当他们再次被裴廓德号捡起时，费达拉消失了，人们认为他是被亚哈自己的鱼叉线拖下去的。
Precisely because everything in Ahab’s world is now possessed by the dark inversion, once the struggle begins we now see only the other side of that life force which Moby Dick represents, the dark, destructive side of nature itself. On the first day, three boats are launched, Ahab’s in the lead, and the whale comes up underneath it, snapping it in two with his jaws. Ahab is thrown into the water, the others cling to the wreckage, until all are rescued. Next morning, in ‘The Chase – The Second Day’, Moby Dick is again sighted. Again three boats are launched and this time the three harpooners all land their darts in his side. The whale turns on them in fury, wrecking two boats and overturning the third, Ahab’s, so that his ivory pegleg is shattered. As they are again picked up by the Pequod, Fedallah has vanished, and it is thought he had been tugged under by Ahab’s own harpoon line.
在“追逐——第三天”中，追击行动在下午继续进行，再次出动三艘船，其中一艘由亚哈船长。当愤怒的鲸鱼攻击并伤害另外两人时，费达拉的尸体被鱼叉线绑在他身边，促使亚哈认出这是第一辆灵车，死者预言，“不是用凡人的手制造的”。亚哈从第三条船上投掷鱼叉，刺激莫比迪克向他的船滚去，将三名男子扔下海。最后，鲸鱼疯狂得无法忍受，全力向裴廓德号发起攻击。本身，致命地粉碎了它的船体。当船开始下沉时，亚哈认出它是“第二辆灵车”，由产自美国的木材制成。亚哈又扔了一个鱼叉，但当鲸鱼向前冲去时，绳子抓住了他的脖子，把他扔进了深处。裴阔德号沉入漩涡，带着其余的船员，“海洋的巨大裹尸布像五千年前一样滚动”。
In ‘The Chase – The Third Day’, the pursuit resumes in the afternoon, again with three boats, one captained by Ahab. As the enraged whale attacks and damages the two others, this reveals the body of Fedallah lashed to his side by the harpoon line, prompting Ahab to recognise this as the first hearse, ‘not made with mortal hands’, the dead man had prophesied. From the third boat Ahab hurls his harpoon, goading Moby Dick to roll against his boat, throwing three men overboard. Finally, maddened beyond endurance, the whale launches himself with full force against the Pequod itself, fatally crushing its hull. As the ship begins to sink, Ahab recognises it as ‘the second hearse’, made from wood grown in America. Ahab hurls another harpoon but, as the whale dashes forward, the rope catches him round the neck, plunging him into the depths. The Pequod sinks into a swirling vortex, carrying the rest of the crew with it, and ‘the great shroud of the sea rolled on as it rolled five thousand years ago’.
在简短的尾声中，我们了解到以实玛利是亚哈船上被扔下海的三名男子之一。当他在水中游泳时，奎奎格的棺材从正在下沉的船上浮起，这是以实玛利可以抓住生存的“救生圈”。在“一条柔和而挽歌般的主干道”上漂浮了一天一夜后，他被雷切尔号救起，雷切尔号在“寻找失踪的孩子们时，只找到了另一个孤儿”。以实玛利是唯一的幸存者。然而，他就像那些梦幻般的航行和回归故事中的英雄一样，从本应改变生活的故事中走出来。没有学到任何东西的经验，完全没有改变。他仍然只是一个“孤儿”：故事开始时他还是一个孤独的、未成形的孩子。
In a brief epilogue, we learn that Ishmael had been one of the three men from Ahab’s boat thrown overboard. As he swims in the water, up from the sinking ship floats Queequeg’s coffin, the ‘lifebuoy’ to which Ishmael can cling for survival. After a day and night floating on ‘a soft and dirge-like main’ he is rescued by the Rachel which, in her ‘search after her missing children, only found another orphan’. Ishmael is the lone survivor. Yet he is like the hero of one of those dreamlike Voyage and Return stories who emerge from what should have been a life-transforming experience having learned nothing, completely unchanged. He is still just an ‘orphan’: the solitary, unformed child he was when the story began.
当梅尔维尔完成《莫比迪克》时”，他在给朋友纳撒尼尔·霍桑的一封著名的信中写道：“我写了一本邪恶的书，但感觉自己像一只羔羊一样一尘不染”。在没有完全理解如何或为什么的情况下，他一定感觉到他的想象力已经被一个故事所占据，这个故事试图颠覆讲故事的原型基础。他很喜欢构思一个故事，其中的英雄亚哈全身都是黑暗的，他出发去摧毁象征着一切光明的“白鲸”。尽管故事的隐藏逻辑仍然坚持认为这只能以英雄的毁灭告终。梅尔维尔在潜意识中知道自己写了“一本邪恶的书”，一个试图违抗所有宇宙事物秩序的故事。但同时他又感到“一尘不染”。他不想感到任何悔恨，因为，像那个时代的其他浪漫主义作家一样，
When Melville completed Moby Dick, he famously wrote to his friend Nathaniel Hawthorne ‘I have written a wicked book and feel spotless as a lamb’. Without fully understanding how or why, he must have sensed that his imagination had become possessed by a story which tried to turn the archetypal foundations of storytelling on their heads. He had relished conceiving a tale in which the hero, Ahab, was all dark, setting out to destroy the ‘White Whale’ which was a symbol of all that is light; even though the hidden logic of the tale continued to insist this could only end in his hero’s destruction. Somewhere from his unconscious Melville knew he had written ‘a wicked book’, a story which attempted to defy all the cosmic order of things. But at the same time he felt ‘spotless as a lamb’. He did not wish to feel any remorse, because, like other Romantic writers of the age, he had the exhilarating sense he was venturing into wholly new, uncharted waters of the human spirit, where no storytellers had ever travelled before.
《白鲸》和《弗兰肯斯坦》之间有明显的相似之处。在这两个故事中，尽管它们基本上都是围绕“战胜怪物”的情节塑造的，但作为黑暗、无情、自私自利的化身的英雄才是真正的怪物。在每种情况下，他的“对立面”，正如我们最初看到的那样，都以一种“低等”的方式呈现为光，一种自我的形象。但最终，在每一个案例中，反映了英雄自身的黑暗状态，这个阴暗的对手确实像《唐璜》中的骑士团雕像一样，变成了必须摧毁他的“未实现的价值”的可怕化身。
There are obvious parallels here between Moby Dick and Frankenstein. In both stories, although they are fundamentally shaped around the Overcoming the Monster plot, the hero, as an embodiment of dark, heartless, all-consuming egotism, is the true monster. In each case his ‘opposite’, as we originally see him, is presented, in an ‘inferior’ way, as light, an image of the Self. But eventually in each case, reflecting the hero’s own state of darkness, this shadowy antagonist does indeed turn, like the statue of the Commendatore in Don Giovanni, into the monstrous embodiment of the ‘unrealised value’ who must destroy him.
这些故事中的每一个都是在十九世纪上半叶写成的，当时西方人的心理正在发生非常重大的变化，这绝非偶然。法国大革命和拿破仑时期的政治和社会动荡已经让人感觉人类即将迎来一个全新的时代。在科学知识的巨大进步中，工业革命带来的巨大物质变化只是最明显的外在标志，人类开始以前所未有的方式走出自然框架。他的新技术力量让他感觉自己现在拥有前所未有的身体力量“征服”自然。科学知识前所未有的进步让他感觉自己可以用智力征服宇宙的奥秘。踏上“进步”的自动扶梯，人类从黑暗、原始的过去走向更加辉煌的未来，四面八方都有一种令人兴奋的感觉。这反映了西方人心理重心正在发生的最深刻的转变。
It is no accident that each of these stories was written at a time, the first half of the nineteenth century, when a highly significant change was coming over the psychology of Western man. Already the tumultuous political and social upheavals at the time of the French Revolution and Napoleon had created the sense that some entirely new age was dawning for mankind. In the dramatic advance of scientific knowledge, of which the immense material changes being brought by the industrial revolution were only the most obvious outward sign, man had begun to step out of his natural frame in a way that had no precedent. His new technological power was giving him the sense that he now had the power physically to ‘conquer’ nature as never before. Unprecedented advances in scientific knowledge were giving him the sense he could conquer the mysteries of the universe intellectually. On all sides there was the exhilarating sense of stepping on to that escalator of ‘progress’ which was carrying the human race up out of the dark, primitive past into an ever more glorious future; and this reflected the most profound shift taking place in Western man’s psychological centre of gravity.
事实上，在从他所诞生的自然框架中迈出这进一步的巨大一步时，他要付出巨大的无意识代价，因为他新的、看似全能的意识与他存在的更深层次的联系被切断了。他本能地与自然相处。在从他在受到前所未有的自然限制的同时，也以一种新的方式变得疏远：不仅与他之外的自然世界疏远，而且与他自己本性的更深层次疏远。正是在这个分离的过程中，意识与无意识的分离，根本性的心理转变正在发生，这种转变开始在讲故事的本质上产生如此大的地震。在接下来的几章中，我们将看到这如何继续影响直到今天的故事讲述方式。
In fact, in taking this further giant step out of the natural frame from which he had sprung, there was an immense unconscious price to pay, in the severing of his new, seemingly all-powerful consciousness from that deeper level of his being which linked him instinctively with nature. In becoming emancipated from the constraints of nature as never before, he was also becoming in a new way alienated: not just from the natural world outside him but from the deeper levels of his own nature. It was in this process of separation, this splitting off of conscious from unconscious, that the fundamental psychic shift was taking place which was beginning to produce such an earthquake in the nature of storytelling. In the next few chapters we shall see how this has continued to shape the way stories are told right up to the present day.
第二十二章
自我接管（二）
黑暗感伤版
Chapter Twenty-Two
The Ego Takes Over (II)
The Dark and Sentimental Versions
“我们这个时代的活动是不确定的、多种多样的。没有任何一种文学、艺术或哲学倾向占主导地位。存在着大量的观念和相互冲突的理论。但在这种普遍的混乱之中，我们可以辨认出一种奇怪而重要的旋律，它在每个附属巴别塔中以不同的调和不同的乐器重复出现。这是我们现代浪漫主义的曲调。
‘The activities of our age are uncertain and multifarious. No single literary, artistic or philosophic tendency predominates. There is a babel of notions and conflicting theories. But in the midst of this general confusion, it is possible to recognise one curious and significant melody, repeated in different keys and by different instruments in every one of the subsidiary babels. It is the tune of our modern Romanticism.’
奥尔德斯·赫胥黎，《新浪漫主义》（1931）
Aldous Huxley, The New Romanticism (1931)
“从来没有哪个时代比我们这个时代更感伤、更缺乏真实的感觉、更夸大虚假的感觉……广播和电影始终只是虚假的情感，现在的新闻和文学也是如此。人们沉溺于情感，伪造情感。他们欣然接受，生活在其中……有时他们似乎相处得很好。然后，他们越来越崩溃。他们四分五裂。
‘Never was any age more sentimental, more devoid of real feeling, more exaggerated in false feeling than our own ... the radio and the film are mere counterfeit emotion all the time, the current press and literature the same. People wallow in emotion, counterfeit emotion. They lap it up, they live in it and on it ... and at times they seem to get on very well with it all. And then, more and more, they break down. They go to pieces.’
DH 劳伦斯，《查泰莱夫人的情人》 (1929)
D. H. Lawrence, Apropos of Lady Chatterley’s Lover (1929)
理解过去 200 年来讲故事所发生的巨大变化的关键是要记住，所有原型情节的一个基本特征是它们如何展示故事中心人物的内心转变。奥德修斯和珀尔修斯、阿拉丁和简·爱、拉斯科尔尼科夫和培尔·金特的故事都告诉我们他们如何发展实现自我实现所需的内在品质的平衡。从根本上来说，这就是我们想象故事的能力的意义所在：展示故事中男女主人公的内心状态，既可以给他们带来幸福的结局，也可以让他们走向毁灭。
A key to understanding the enormous change which has come over storytelling in the past 200 years is to recall that an essential feature of all the archetypal plots is how they show the central figure of the story being inwardly transformed. The stories of Odysseus and Perseus, Aladdin and Jane Eyre, Raskolnikov and Peer Gynt, all tell us how they develop the balance of inner qualities required to bring them to Self-realisation. At root this is what our capacity to imagine stories is about: to show how the inner state of any story’s hero or heroine is such that it can either bring them to a happy ending or carry them down to destruction.
在上一章中，我们开始探讨当讲故事者的自我和无意识之间出现分裂时会发生什么，潜意识中隐藏的心理层面包含赋予故事形状和意义的原型结构。当自我接管时，最重要的后果之一是，原型运作的所有内部象征主义都向外投射到外部世界。我们不再看到英雄或女主角经历内在的转变，而这才是原型模式的真正主题。他们的转变都是在他们外在的环境里。在这方面，这个故事已经巧妙地脱离了它的原型根源。这种分裂主要表现在三个方面。
In the last chapter we began to explore what happens when a split opens up between a storyteller’s ego and his unconscious, that hidden level of the psyche containing the archetypal structures which give stories their shape and meaning. One of the most significant consequences, as the ego takes over, is that all the internal symbolism through which the archetypes operate becomes projected outwards, onto the external world. We no longer see the hero or heroine going through the inner transformation which is the real theme of the archetypal pattern. Their transformation is all in their outward circumstances. In this respect, the story has become subtly detached from its archetypal roots. And this disintegration shows itself in three main ways.
黑暗版本
The dark version
第一个是我们刚刚看到的：完整的“黑暗版本”，讲故事的人向我们展示了一个英雄，他试图表演原型模式，从而带来幸福的结局，但无法做到这一点，因为他以自我为中心，并且无法做到这一点。黑暗的。因为没有内在的转变让他达到完美幸福结局所需的品质平衡，所以讲故事的逻辑决定了，像朱利安·索雷尔或亚哈船长一样，他最终必须带来自己的毁灭。
The first is the one we have just been looking at: the full ‘dark version’, where a storyteller presents us with a hero trying to act out the archetypal pattern which leads to a happy ending but unable to do so because he is egocentric and dark. Because there is no inner transformation to give him the balance of qualities required to reach the complete happy ending, the logic of storytelling dictates that, like Julien Sorel or Captain Ahab, he must ultimately bring about his own destruction.
较小的黑暗版本
The lesser dark version
这样的故事可以采用的第二种形式是“不太黑暗的版本”。这就是一个黑暗或不称职的英雄或女英雄表面上似乎达到了他们的目标的地方。但是，由于他们没有经历必要的转变，所以故事的最后一个转折向我们表明他们并没有真正实现这一目标。他们要么以某种挫折或失败而告终，要么以失败告终。或者我们以其他方式意识到这个故事还没有得到妥善解决。
The second form such a story can take is ‘the lesser dark version’. This is where a dark or inadequate hero or heroine may seem outwardly to reach their goal; but, again, because they have not gone through the necessary transformation, there is a final twist to the tale which shows us they have not really achieved it. Either they end in some kind of frustration or defeat; or we are in some other way made aware that the story has not been properly resolved.
感伤版本
The sentimental version
这样的故事还有第三种形式，虽然并不总是那么明显，但它在过去 200 年的故事讲述中发挥了极其重要的作用：尤其是通过主导 20 世纪流行故事讲述的媒介——电影。这是“感性版本”。从表面上看，这个故事似乎遵循了典型的模式，并有一个幸福的结局。但由于这一切都是以外在的方式呈现，没有任何内在的转变，所以这个故事已经失去了其更深层次的原型意义。剩下的只是一个感伤的外壳：没有内容的形式。此外，每当我们仔细研究这样一个故事时，我们总是会发现它的情节有些微妙的错误。通过这种方式，它揭示了它是如何脱离底层原型的。
There is a third form such a story can take, not always so obvious, which has played a hugely important role in the storytelling of the past 200 years: not least through that medium which so dominated twentieth-century popular storytelling, the cinema. This is ‘the sentimental version’. Superficially, the story may seem to go through the archetypal pattern, complete with a happy ending. But because it has all been presented in outward terms, without any inner transformation, the story has been emptied of its deeper archetypal meaning. What remains is just a sentimental shell: form without content. Furthermore, whenever we examine such a story in detail, we invariably find that something has gone subtly awry with its plot. In this way it reveals just how it has become detached from the underlying archetype.
在本章和后续章节中，我们利用各种小说、电影、戏剧和歌剧来了解这些与基本原型的偏差是如何运作的。
In this chapter and those which follow, we draw on a wide range of novels, films, plays and operas to see how each of these aberrations from the fundamental archetypes works.
白手起家：黑暗版本
Rags to Riches: The dark versions
一个特别明显的黑暗或感伤解释的候选者是《白手起家》故事的情节，因为这很容易导致基于自我的幻想，这可以让故事讲述者和观众都获得认同来自于《白手起家》的英雄或女主人公的乐趣。赢得众人的成功和喝彩。
A particularly obvious candidate for dark or sentimental interpretations is the plot of the Rags to Riches story, because this so easily lends itself to ego-based fantasies, which can give both storyteller and audience the pleasure of identifying with a hero or heroine who emerges from the crowd to win success and acclaim.
正如我们在《猩红与黑色》中所看到的，这个情节变得黑暗的最极端方式是，故事讲述者呈现了一个缺乏这些基本内在品质的黑暗英雄；他违背典型规则，试图从白手起家走向富有，因此最终被毁灭。无情的朱利安·索雷尔就像脱衣漫画中的人物一样二维。他丝毫没有经历任何内在的转变。我们只看到他自负地寻求与故事中的其他角色竞争、打动或统治其他角色。最后的他和开始时的纸板人完全一样。故事只有真实的心理兴趣是指其主人公在多大程度上是情感不成熟的作者本人的幻想投射。
The most extreme way in which this plot can turn dark, as we saw in The Scarlet and the Black, is where the storyteller presents a dark hero who lacks those essential inner qualities; who attempts to climb from Rags to Riches in defiance of the archetypal rules, and is therefore finally destroyed. The heartless Julien Sorel is as two-dimensional as a character in a strip cartoon. In no way does he go through any internal transformation. We only see him egotistically seeking to compete with, impress or dominate every other character in the story. He is precisely the same pasteboard figure at the end as he was at the beginning. The story’s only real psychological interest is the extent to which its hero was a fantasy projection of the emotionally immature author himself.
盖伊·德·莫泊桑的小说《美丽的朋友》（Bel Ami，1885）就是情节“不太黑暗的版本”的一个例子。身无分文但英俊的年轻法国前军官乔治·杜罗伊（Georges Duroy）带着“浪漫的大胆坏英雄的真实气息”在巴黎漫步，不知道他如何才能负担下一顿饭。他遇到了一位前警官福雷斯蒂尔，他在《法国生活》报社找到了一份高薪工作，并表示他将帮助杜罗伊成为一名记者。他们参观了 Folies Bergere，杜罗伊去那里与迷人的妓女雷切尔过夜。她被他的外表所吸引，所以并不担心他缺钱。他受报纸委托撰写一系列文章，但发现自己无法将任何内容组合在一起，直到福雷斯蒂尔聪明的妻子为他写了第一篇文章。在与这对夫妇共进晚餐时，他遇到了德·马雷尔夫人，一位迷人的已婚妇女，他与她开始了婚外情，同时仍然继续与雷切尔见面。尽管我们对如何学习写作知之甚少，但他成为了一名记者，专门研究八卦和政治，而德·马雷勒夫人则租了一套公寓，在那里他们可以继续他们的事情。她的小女儿劳琳 (Laurine) 被杜洛伊 (Duroy) 带走，并给他起了个绰号“美丽的阿米”(Bel Ami)。
An example of the ‘lesser dark version’ of the plot is Guy de Maupassant’s novel Bel Ami (1885). A penniless but good-looking young French ex-army officer, Georges Duroy, is strolling through Paris with ‘the authentic air of the bold bad hero of romance’, wondering how he can afford his next meal. He runs into a former fellow-officer Forestier, who has a well-paid job with a newspaper, La Vie Francaise, and says he will help Duroy to become a journalist. They visit the Folies Bergere, where Duroy goes off to spend the night with an attractive prostitute, Rachel. She is so taken by his looks that she is not concerned by his lack of money. He is taken on by the newspaper to write a series of articles, but finds himself incapable of putting anything together until Forestier’s clever wife writes the first article for him. At dinner with the couple he meets Mme de Marelle, an attractive married woman with whom he begins an affair, while still continuing to see Rachel. Although we are given little idea of how learns to write, he becomes established as a journalist, specialising in gossip and politics, while Mme de Marelle rents an apartment where they can carry on their affair. Her young daughter Laurine is taken by Duroy and nicknames him ‘Bel Ami’.
整个故事被呈现为一种实现愿望的幻想，从杜洛伊的角度来看，他享受着毫不费力的成功，无论是与女人（总是同时超过一个）还是在他的新职业中，没有真正提供任何帮助合理的证据证明了他为什么能够实现其中任何一个目标。最终他被召唤到法国南部去照顾福雷斯蒂尔的过早临终。他的朋友一去世，杜罗伊就向福雷斯蒂埃夫人求婚。他们结婚了，并作为一个新闻团队一起工作，杜罗伊将自己的名字改为更伟大的杜罗伊，同时他又恢复了与德·马雷尔夫人的恋情。然后他把目光投向了编辑沃尔特的中年妻子。当他终于克服了她的反抗，让她对他陷入爱恋时，他厌倦了她幼稚的奉献，开始喜欢上她十几岁的女儿苏珊娜，同时继续与德·马雷尔夫人的恋情。法国新政府上台，与《法兰西生活》赋予沃尔特和他的报纸巨大的新政治影响力和重要性。为了重新赢得杜罗伊的喜爱，沃尔特夫人向他透露了政府接管摩洛哥的秘密计划，她的丈夫和政府成员密谋通过内幕交易赚取巨额财富。
The whole story is presented as a kind of wish-fulfilment fantasy, seen through Duroy’s eyes, in which he enjoys effortless success, both with women (invariably more than one at the same time) and in his new profession, without ever really providing any plausible evidence of why he achieves either. Eventually he is summoned to the south of France to attend Forestier’s premature death-bed. No sooner has his friend expired than Duroy proposes to Mme Forestier. They are married and work together as a journalistic team, Duroy changing his name to the grander Du Roy, while he resumes his affair with Mme de Marelle. He then sets his sights on the middle-aged wife of his editor, Walter. No sooner has he finally overcome her resistance, rendering her besotted with love for him, than he tires of her infantile devotion and begins to fancy her teenage daughter Suzanne, while at the same time continuing his affair with Mme de Marelle. A new French government comes to power, closely linked to La Vie Francaise, which gives Walter and his newspaper enormous new political influence and importance. In a desperate bid to regain Du Roy’s affection, Mme Walter reveals to him a secret Government plan to take over Morocco, out of which her husband and members of the Government are scheming to make a vast fortune by insider dealing.
福雷斯蒂尔夫人本人也被一个男人留下了一大笔遗产，而这个男人原来是她的长期情人。杜罗伊坚持认为，为了防止丑闻，应该宣布这笔钱留给他们两人，使他成为法郎百万富翁。但这与他的编辑沃尔特因摩洛哥事件的金融政变而获得的巨额财富相比不算什么，他现在在巴黎市中心为自己买了一座富丽堂皇的豪宅。杜罗伊发现外交部长现在成了他妻子的情人，他想出了最后的妙计。他安排警察局长抓获正在通奸的妻子和她的情人，这样他就可以与她离婚；这样他就可以自由地追求法国最富有的人之一的女继承人苏珊娜。他利用她父亲如何发家致富的知识确保他同意这场比赛，这让苏珊的母亲感到恐惧。随着高潮的临近，“美丽的朋友”似乎赢得了生活所能提供的一切世俗奖品。沃尔特 (M. Walter) 任命他为《法兰西生活》(La Vie Francaise)的主编，沃尔特的财富现已成为法国领先的报纸。他很富有。他被封为杜罗伊男爵。故事的高潮是在巴黎最时尚的教堂举行一场盛大的婚礼，巴黎社会的精英出席了婚礼。但就在此时此刻，杜罗伊想象着“人神”基督本人“降临人间来奉献”他的胜利，以及他成为法兰西共和国总统只是时间问题，杜罗伊内心深处的想法在这广大的会众中，只有一个人，他与他进行了一次意味深长的眼神交流。当他沿着过道走进灿烂的阳光时，“德·马雷尔夫人的形象浮现在他的眼前”，她像往常一样看着镜子，然后才从他们做爱的床上起床。
Mme Forestier is then herself left a large legacy by a man who turns out to have been her long-established lover. Du Roy insists that, to prevent scandal, it should be announced that the money was left to them both, making him a franc millionaire. But this is nothing to the immense fortune made by his editor Walter from his financial coup on the Morocco affair, who has now bought himself a palatial mansion in the heart of Paris. Discovering that the Foreign Minister is now his wife’s lover, Du Roy conceives his final coup. He arranges for the Commissioner of Police to catch his wife and her lover in the act of adultery, so he can divorce her; thus leaving him free to woo Suzanne, as heiress to one of the richest men in France. He uses the knowledge of how her father had come by his fortune to ensure his agreement to the match, to the horror of Suzanne’s mother. As the climax approaches, ‘Bel Ami’ seems to have won every worldly prize life has to offer. M. Walter makes him editor-in-chief of La Vie Francaise, which Walter’s wealth has now made the leading newspaper in France. He is rich. He is ennobled as the Baron Du Roy. And the story culminates in a spectacular wedding in the most fashionable church in Paris, attended by the cream of Parisian society. But at this very moment, having imagined that the ‘Man-God’ Christ himself ‘was descending to earth to consecrate’ his triumph and how it might only be a matter of time before he became President of the French Republic, Du Roy’s inmost thoughts are only of one person in that vast congregation, with whom he has enjoyed a pregnant exchange of glances. Before his eyes, as he walks down the aisle into the brilliant sunlight, ‘there floated the image of Mme de Marelle’, looking into the mirror as she always did before getting out of the bed where they made love. It would not be long before he saw that sight again.
这个故事是白手起家的原型的完整向外投射。用世俗的话来说，杜洛伊已经赢得了他的“公主”的芳心，并继承了“王国”。他已经实现了自我实现的所有外在装饰，似乎被宗教本身的所有庄严所神圣化。但是，就像《猩红与黑色》中那样，这一切都以最无情的肤浅方式呈现，以一个完全以自我为中心、肆无忌惮的纸板英雄为中心，每一个奖品——女人、金钱、地位、时尚赞誉——都随着一个无情的、机械的轻松的愿望而落到他身上——实现白日梦；尽管无可否认，在这个世界上，其他人都像他一样以自我为中心，不道德。杜洛伊没有丝毫假装已经成长为一个成熟的男人。他的内心仍然完全没有改变，是一个“无法长大的男孩英雄”，夹在“母亲”和婴儿阿尼玛之间，“母亲”是由一系列崇拜他的已婚妇女（他的情妇）所代表的。孩子劳林和他最终的新娘苏珊娜的人物。作为法国最富有、最有权势的人的女儿，苏珊娜几乎是索雷尔笔下的玛蒂尔德的翻版；只不过，在这里，幸福结局的外在表现已经完成，婚礼终于举行了，而“母亲”，已婚的情妇，仍然在阴影中忠实地等待着。但这让我们确信故事的典型结局只是一个空洞的骗局。我们还没有真正达到幸福的结局。
The story is a complete outward projection of the Rags to Riches archetype. In worldly terms, Duroy has won the hand of his ‘Princess’ and succeeded to the ‘kingdom’. He has achieved all the external trappings of Self-realisation, seemingly sanctified by all the solemnities of religion itself. But, as in The Scarlet and the Black, this has all been presented in only the most relentlessly superficial fashion, centred on a wholly self-centred, unscrupulous cardboard hero to whom every prize – women, money, position, fashionable acclaim – falls with the relentless, mechanical ease of a wish-fulfilment daydream; although admittedly in a world in which everyone else is shown to be as self-centred and amoral as himself. There is not the slightest pretence that Duroy has grown up into a mature man. Inwardly he remains wholly unchanged, the ‘boy hero who cannot grow up’, caught between ‘Mother’, represented by the succession of adoring married women who are his mistresses, and the infantile anima figures of the child Laurine and his eventual bride Suzanne. As the daughter of the richest and most powerful man in France, Suzanne is almost a carbon copy of Sorel’s Mathilde; except that here the outward show of the happy ending is complete, as the wedding finally takes place, while ‘Mother’, the married mistress, is still waiting faithfully in the shadows. But this leaves us in no doubt that the archetypal resolution of the story is only a hollow sham. We have not really arrived at a happy ending at all.
巴德·舒尔伯格的好莱坞小说《是什么让萨米奔跑》是“白手起家”情节的“不太黑暗的版本”的一个类似例子。故事的中心是萨米·格里克（Sammy Glick）令人眼花缭乱的向上攀登，首先是在纽约八卦新闻界，然后是在好莱坞，萨米·格里克（Sammy Glick）无情地自我驱动（尽管与司汤达和德·莫泊桑不同，舒尔伯格并不认同他的英雄，而是认同他的故事）叙述者，一位作家同事，带着讽刺的沮丧观察着格利克无情的崛起）。像贝尔阿米一样，这在表面上与童话故事的模式相呼应，尤其是在高潮部分，英雄似乎再次娶了美丽的“公主”并“继承了王国”。当一位纽约千万富翁买下了格利克工作的环球工作室时，英雄计划确保他被任命为工作室全能的负责人，推翻了以前作为他的支持者和保护者的慈父般的形象；故事的结尾是一场壮观的好莱坞婚礼，格利克与新主人的“贵族”女儿结婚。但对于这样一个黑暗的英雄来说，故事不可能就这样结束。最后故事发生了转折，在庆祝婚礼的派对进行到一半的时候，格里克上到他的豪宅楼上，发现他同样冷酷、以自我为中心的新娘正在和一个愚蠢但英俊的年轻电影明星享受性爱。她毫不掩饰地告诉他，婚姻只是一种互惠互利的社会安排。格利克的奇幻世界暂时变成了废墟。但随着书的结尾，他已经退到了以自我为中心的盔甲后面，一如既往地努力“奔跑”。就像在《美丽的朋友》中一样，我们意识到纸板英雄的内心根本没有改变。故事无论如何都没有最终解决。
A similar example of the ‘lesser dark version’ of the Rags to Riches plot was Budd Schulberg’s Hollywood novel What Makes Sammy Run. This centres on the dizzying upward climb, first in the world of New York gossip journalism, then in Hollywood, of the ruthlessly ego-driven Sammy Glick (although, unlike Stendhal and de Maupassant, Schulberg did not identify with his hero but with his story’s narrator, a fellow writer who observes Glick’s remorseless rise with wry dismay). Like Bel Ami, this outwardly echoes the fairy-tale pattern, not least in its climax where the hero again appears to have married the beautiful ‘Princess’ and ‘succeeded to the kingdom’. When a New York multi-millionaire buys the Worldwide Studios where Glick works, the hero schemes to ensure that he is appointed all-powerful head of the studio, overthrowing the kindly father-figure who had previously been his champion and protector; and the story concludes with the spectacular Hollywood wedding in which Glick marries the new owner’s ‘aristocratic’ daughter. But there is no way, with such a dark hero, this could be the end of the story. Finally comes the twist to the tale, where in the middle of the party to celebrate the wedding, Glick goes upstairs in his mansion to find his equally cold-hearted, self-centred bride enjoying sex with a stupid but handsome young film star. Unabashed, she tells him the marriage was just a mutually-advantageous social arrangement. Temporarily, Glick’s fantasy world is in ruins. But as the book ends, he has already retreated behind the armour of his all-consuming egocentricity, ‘running’ as hard as ever. As in Bel Ami, we realise the cardboard hero has not inwardly changed at all. In no way is the story finally resolved.
20 世纪 50 年代末的英国畅销书约翰·布雷恩 (John Braine) 的《山顶的房间》(1957) 是一个“不太黑暗的版本”，它更公开地暗示了童话故事的象征意义。乔·兰普顿是一个孤儿年轻人，来到约克郡的一个大城市寻找财富。他像“Bel Ami”和 Sammy Glick 一样二维且以自我为中心，尽管没有他们自我提升的才能。他很快就从远处看到了代表他所有野心的“公主”，苏珊，当地一位富商的美丽而愚蠢的小女儿。起初，她似乎遥不可及，他沉思道：
A ‘lesser dark version’ which even more overtly alluded to the symbolism of the fairy tale was that British best-seller of the late 1950s, John Braine’s Room at the Top (1957). Joe Lampton, an orphaned young man, arrives to seek his fortune in a big Yorkshire town. He is as two-dimensional and egocentric as ‘Bel Ami’ and Sammy Glick, although without their talents for self-advancement. He soon spots from afar the ‘Princess’ who represents all his ambition requires, Susan, the pretty, silly young daughter of a rich local businessman. At first she seems quite out of reach, and he muses:
“苏珊是一位公主，而我相当于一个猪倌。你可能会说，我的表演相当于童话故事。麻烦的是，还有比龙和魔法师更困难的障碍需要克服，而且我看不到仙女教母的迹象。
‘Susan was a princess and I was the equivalent of a swineherd. I was, you might say, acting out the equivalent of a fairy story. The trouble was that there were more difficult obstacles than dragons and enchanters to be overcome, and I could see no sign of a fairy godmother.’
然而，几乎立刻，一位“仙女教母”（或者至少是“母亲”）进入了兰普顿的生活，她的形象是爱丽丝·艾斯吉尔，一位热心的、已婚的年长妇女。她开始“改变”他，当然只是表面上的，通过消除他的一些社交粗俗并教他使用发膏；很快他就带着他的“公主”出去参加社交场合，而与“母亲”的风流韵事仍在幕后继续：
Almost immediately, however, a ‘fairy godmother’ (or at any rate a ‘Mother’) comes into Lampton’s life, in the shape of Alice Aisgill, a warm-hearted, married older woman. She begins to ‘transform’ him, although of course only externally, by smoothing away some of his social gaucheries and teaching him to use hair cream; and soon he is taking his ‘Princess’ out to social occasions, while the affair with ‘Mother’ continues in the background:
“我不是把苏珊当作苏珊，而是把她当作一个甲级美女和工厂老板的女儿，作为实现我野心的阿拉丁洞穴的手段。”
‘I was taking Susan not as Susan but as a Grade A lovely and the daughter of a factory owner, as the means to obtaining the Aladdin’s cave of my ambitions.’
事实上，苏珊是那种婴儿阿尼玛形象的典型例子，她可能是被那些患有“母亲主导”情感不成熟的人幻想出来的。她开始回应她的“Joekins”的求爱（让人想起婴儿时期的多拉·斯彭洛（Dora Spenlow）对大卫·科波菲尔（David Copperfield）的爱称“Doady”），但当她发现他仍然与爱丽丝（“母亲”）联系在一起时，她把他扔了下去。乔和爱丽丝前往多塞特郡进行四天的做爱（“那天晚上和随后的夜晚，我了解了关于女人和我自己的身体的所有信息”），最后乔病态地宣称“我确实爱你，爱丽丝”。我会爱你直到我死的那一天。你现在是我的妻子了。永远不会有其他人了。
In fact Susan is a classic instance of the kind of infantile anima figure who might be fantasised into existence by someone suffering from ‘Mother-dominated’ emotional immaturity. She begins to respond to the advances of her ‘Joekins’ (reminiscent of the infantile Dora Spenlow’s pet-name ‘Doady’ for David Copperfield), but throws him over when she discovers that he is still tied to Alice (‘Mother’). Joe and Alice travel down to Dorset for four days of love-making (‘that night and the nights that followed I learned all about a woman’s body and my own’), ending with Joe’s sickly declaration ‘I do love you Alice. I’ll love you till the day I die. You’re my wife now. There’ll never be anyone else.’
他们回到约克郡后，乔立即赢回了苏珊并使她怀孕。她的父亲提出为他现在未来的女婿找一份高薪的新工作：
On their return to Yorkshire, Joe at once wins Susan back and makes her pregnant. Her father offers to find his now prospective son-in-law a highly paid new job:
“我是一位白马王子——我路上的每一个障碍都被神奇地扫平了。”
‘I was a Prince Charming – every obstacle had been magically smoothed from my path.’
“白马王子”告诉“妈妈”发生了什么事，他们的恋情已经结束了。她喝醉了，把车冲出了道路，然后被碾成了肉泥。在我们这个时代，童话世界确实在这样的幻想中发生了翻天覆地的变化。
‘Prince Charming’ tells ‘Mother’ what has happened, and that their affair is over. She gets drunk, runs her car off the road and is crushed to an unrecognisable pulp. Truly in such fantasies has the world of the fairy tale been turned in our time inside out.
白手起家：感伤版
Rags to Riches: The sentimental version
当我们谈论“感伤”时，我们指的是真实事物的虚假版本；能够激发人类适当情感的东西的赝品。感伤会影响我们的情绪。当我们看到一部感伤的电影或听到一首感伤的歌曲时，我们的心弦可能会被拉动。我们可能会感动得流泪。正如诺埃尔·考沃德（Noel Coward）所说，“廉价音乐的力量非常强大”。但我们也可能意识到，我们的情绪反应只是受到外在的操纵，其方式与任何真正的个人现实并不相符。
When we talk of ‘sentimentality’, we mean the false version of something real; the counterfeit of something which can inspire proper human emotions. Sentimentality plays with our emotions. When we see a sentimental film or hear a sentimental song, our heartstrings may be tugged. We may be moved to tears. As Noel Coward said ‘extraordinary how potent cheap music is’. But we may also be aware that our emotional responses are only being outwardly manipulated, in a way which does not correspond to any genuine personal reality.
感伤的本质在于，它源于人类自我占有自我的价值和属性的能力。因此，它是伪装的自我主义，假装认同更高的、超越自我的东西。如果说“自我”最明显的属性之一是无私的感觉，那么多愁善感就是这种感觉的外在表现，而没有其真实性。这就是为什么我们特别将它与诸如男女之间的浪漫爱情等情感表达联系在一起。父母与子女之间的爱；对其他人的困境表示同情；对国家的热爱；自然; 上帝的。所有这些都是更深层、超越自我的自然功能。但当自我试图享受这种感觉而不放开自己时，它们都可能被感伤。
The essence of sentimentality is that it arises from the capacity of the human ego to appropriate the values and properties of the Self. It is thus egotism in disguise, pretending to identify with something higher and beyond Self. If one of the most obvious attributes of the Self is selfless feeling, sentimentality is the outward show of such feeling without its reality. This is why we particularly associate it with such expressions of emotion as the romantic love between a man and a woman; love between parents and children; sympathetic feelings for the plight of other people in general; the love of country; of nature; of God. All these are naturally functions of the deeper, ego-transcending Self. But they can all be sentimentalised when the ego seeks to enjoy such feelings without letting go of itself.
从某种意义上说，与完全融入潜在原型的故事相比，我们已经看过的所有黑暗的、以自我为中心的故事版本都是感伤的。因此，其中出现的所有角色都具有二维性质。但至少在“黑暗”版本中，很明显有些东西已经严重偏离，并且故事无法达到其适当的原型结局。我们现在必须关注的是那些故事，在这些故事中，自我设法占据原型的几乎整个外在形式，同时清空其内在意义；尽管正如我们将看到的，即使在这里，结果也总是以某种方式表明出了问题。
In one sense all the dark, ego-centred versions of stories we have already looked at are sentimental, compared with stories which are fully integrated with the underlying archetypes. Hence the two-dimensional nature of all the characters who appear in them. But at least in the ‘dark’ versions it becomes obvious something has gone seriously adrift, and that the story cannot achieve its proper archetypal ending. What we must now look at are those stories where the ego manages to appropriate almost the entire outward form of the archetype, while emptying it of its inner significance; although even here, as we shall see, the result always somehow indicates that something has gone awry.
在我们这个时代，没有什么地方比好莱坞的“梦想工厂”更明显地是白手起家故事的发源地：无论是在现实生活中，还是将诺玛·吉恩·莫滕森和阿奇·科尔斯变成了玛丽莲·梦露和卡里·格兰特这些贫穷、无名的小男孩。女孩则分为“公主”和“王子”；或者在过去的一个世纪中大量的虚构版本涌入银幕和世界的幻想中。每一种可以想象到的排列都围绕着这个主题进行，尤其是在一系列电影中，这些电影展示了一些未被认可的天才最终赢得了名声和认可。
Nowhere in our time has been more obviously the home of Rags to Riches stories than the ‘dream factory’ of Hollywood: either in its real life role of transforming Norma Jean Mortensons and Archie Kerrs into Marilyn Monroes and Cary Grants, poor, anonymous little boys and girls into ‘Princesses’ and ‘Princes’; or in the multitude of fictional versions which over the past century have poured out onto the screens and into the fantasies of the world. Every conceivable permutation has been worked on this theme, not least in that host of films which showed some unrecognised genius winning his way at last to fame and recognition.
我们之前看过的一个例子是《本尼·古德曼的故事》（The Benny Goodman Story，1956 年），它再现了 20 世纪 30 年代摇摆乐队领军人物的早期职业生涯。从表面上看，这个故事遵循与白手起家的原型完全相同的模式，直到幸福的结局，英雄赢得了美丽的“公主”的手并继承了“王国”，因为他在卡内基音乐厅（最高的城堡）赢得了全场起立鼓掌。美国音乐界享有盛誉，以前从未允许爵士音乐家演奏过。但当我们更仔细地观察时，我们会发现英雄的成功都是如何通过外在的方式呈现出来的。我们在他的性格中看不到任何内在的发展。这个故事只不过是一个实现愿望的幻想，最初以一个小男孩为中心，他唯一真正的特征是他非凡的音乐天赋，就像朱利安·索雷尔记住贺拉斯的大部分内容的能力，以及他全力以赴的成功意志。因为英雄是一个足够令人愉快的纸板人，他身上没有明显的阴暗和敌意。因此，他最终赢得世俗的满足和赞誉是可以接受的。但很能说明问题的是，当女主人公富有的年迈父母随着他的音乐打着脚，加入卡内基音乐厅的欢呼声时，他成功的最终标志。事实上，他仍然只是一个想要得到“大人”认可的小男孩。他自己还没有成熟到完全成熟，成为自己内心王国的国王，这就是白手起家的原型。从心理学的角度来看，就像所有其他好莱坞版本的白手起家故事一样，展示了一位被忽视的年轻艺术家，他最终吸引了全世界的注意力，认识到他是一个多么聪明的家伙，因此，他最终赢得世俗的满足和赞誉是可以接受的。但很能说明问题的是，当女主人公富有的年迈父母随着他的音乐打着脚，加入卡内基音乐厅的欢呼声时，他成功的最终标志。事实上，他仍然只是一个想要得到“大人”认可的小男孩。他自己还没有成熟到完全成熟，成为自己内心王国的国王，这就是白手起家的原型。从心理学的角度来看，就像所有其他好莱坞版本的白手起家故事一样，展示了一位被忽视的年轻艺术家，他最终吸引了全世界的注意力，认识到他是一个多么聪明的家伙，因此，他最终赢得世俗的满足和赞誉是可以接受的。但很能说明问题的是，当女主人公富有的年迈父母随着他的音乐打着脚，加入卡内基音乐厅的欢呼声时，他成功的最终标志。事实上，他仍然只是一个想要得到“大人”认可的小男孩。他自己还没有成熟到完全成熟，成为自己内心王国的国王，这就是白手起家的原型。从心理学的角度来看，就像所有其他好莱坞版本的白手起家故事一样，展示了一位被忽视的年轻艺术家，他最终吸引了全世界的注意力，认识到他是一个多么聪明的家伙，但很能说明问题的是，当女主人公富有的年迈父母随着他的音乐打着脚，加入卡内基音乐厅的欢呼声时，他成功的最终标志。事实上，他仍然只是一个想要得到“大人”认可的小男孩。他自己还没有成熟到完全成熟，成为自己内心王国的国王，这就是白手起家的原型。从心理学的角度来看，就像所有其他好莱坞版本的白手起家故事一样，展示了一位被忽视的年轻艺术家，他最终吸引了全世界的注意力，认识到他是一个多么聪明的家伙，但很能说明问题的是，当女主人公富有的年迈父母随着他的音乐打着脚，加入卡内基音乐厅的欢呼声时，他成功的最终标志。事实上，他仍然只是一个想要得到“大人”认可的小男孩。他自己还没有成熟到完全成熟，成为自己内心王国的国王，这就是白手起家的原型。从心理学的角度来看，就像所有其他好莱坞版本的白手起家故事一样，展示了一位被忽视的年轻艺术家，他最终吸引了全世界的注意力，认识到他是一个多么聪明的家伙，一个统治自己内心王国的国王，这就是白手起家的原型。从心理学的角度来看，就像所有其他好莱坞版本的白手起家故事一样，展示了一位被忽视的年轻艺术家，他最终吸引了全世界的注意力，认识到他是一个多么聪明的家伙，一个统治自己内心王国的国王，这就是白手起家的原型。从心理学的角度来看，就像所有其他好莱坞版本的白手起家故事一样，展示了一位被忽视的年轻艺术家，他最终吸引了全世界的注意力，认识到他是一个多么聪明的家伙，《本尼·古德曼的故事》对历史事实的安排只不过是一种令人愉快的自我放纵的幻想。
An example we looked earlier was The Benny Goodman Story (1956), recreating the early career of the 1930s swing bandleader. Outwardly this story followed the exact pattern of the Rags to Riches archetype, right up to the happy ending, with the hero winning the hand of the beautiful ‘Princess’ and succeeding to the ‘kingdom’, as he wins a standing ovation in Carnegie Hall, the supreme citadel of American musical respectability where no mere jazz musician had ever been allowed to play before. But when we look more carefully, we see how the hero’s success is all presented in external terms. We see no inner development in his character. The story is no more than a wish-fulfilment fantasy, originally centred on a small boy whose only real defining characteristic is his exceptional musical talent, rather like Julien Sorel’s capacity to remember chunks of Horace, and his all-consuming will to succeed. Because the hero is a pleasant-enough cardboard figure, there is nothing obviously dark and inimical about him. It is therefore acceptable that he should eventually win through to worldly gratification and acclaim. But it is telling that the ultimate mark of his success is when the heroine’s rich elderly parents are seen tapping their feet to his music and joining in the cheers in Carnegie Hall. Really he is still just the small boy who wants approval from the ‘grown ups’. He has not matured to become fully grown-up himself, a king over his own inner kingdom, which is what the Rags to Riches archetype is about. In psychological terms, like all those other Hollywood versions of the Rags to Riches story showing the disregarded young artist who eventually draws the attention of the world to recognise what a clever fellow he is, The Benny Goodman Story arranges the facts of history to make no more than a pleasantly self-indulgent fantasy.
并非所有好莱坞美好想象的童话故事都如此紧密地遵循原型模式，尤其是在现实生活中。因为没有什么比试图在外部表现出原型的模式更危险的了，只有当我们向内思考时，原型模式才能产生真正的意义，作为内在心灵成长的象征。这就是为什么，在童话般的外表背后，好莱坞这个角色至上的小镇，至今已被证明是一座坟墓，埋葬着那些无意识地陷入投射原型的人，留下了离婚、酗酒、精神崩溃，甚至是谋杀，这长期以来都是它的代名词。
Not all Hollywood’s fondly-imagined fairy tales adhere quite so closely to the archetypal pattern, not least in real life. For there is nothing more dangerous than to try to act out externally the patterns of the archetypes, which can only yield their true significance when taken inwardly, as the symbols of inner psychic growth. This is why, behind its fairy-tale facade, Hollywood, as a town where the persona rules supreme, has to this day proved such a graveyard for those who pass unconsciously into the grip of projected archetypes, leaving that trail of divorces, alcoholism, nervous breakdowns and even murders with which it has long been synonymous.
即使是好莱坞虚构的童话故事，经过仔细审视，也常常会揭露出精神障碍的阴暗面，这种精神障碍必然会在一个城镇和一个如此无情地致力于自欺欺人的自我世界的行业中肆虐。查理·卓别林 (Charlie Chaplin) 20 年代的经典无声银幕电影《淘金记》就是一个具有启发意义的例子。。故事的第一部分讲述了查理和两位探矿者同伴布莱克·拉森和大吉姆在荒野中的故事，吉姆在那里发现了一大堆金矿（“山洞里的宝藏”）。经历了暴风雪和饥饿后，查理的两个同伴开始打架。拉森用铁锹击中吉姆的头部，然后在雪崩中丧生。吉姆消失了，失去了记忆，忘记了金矿的下落。查理独自一人来到附近的小镇，在那里他遇见并爱上了舞厅小女主人乔治亚，她和他跳舞只是为了报复她喝醉了、欺负人的情人。查理以为她喜欢他，邀请她和朋友们一起回到他的小屋参加除夕庆祝晚宴。他们没有出现。
Even Hollywood’s fictional fairy tales can often be seen on closer examination to betray the dark side of the psychic disorder bound to rage in a town and an industry so remorselessly dedicated to the self-deceiving world of the ego. A revealing instance was that Charlie Chaplin silent-screen classic of the 1920s, The Gold Rush. The first part of the story shows Charlie and two fellow prospectors, Black Larsen and Big Jim, out in the wilderness, where Jim has discovered an enormous lode of gold (‘the treasure in the cave’). After experiencing blizzards and starvation, Charlie’s two companions begin to fight. Larsen hits Jim over the head with a spade and is then killed by an avalanche. Jim disappears, having lost his memory and forgotten the whereabouts of his gold mine. Charlie, left alone, goes down into the nearby town, where he meets and falls in love with Georgia, the little dance-hall hostess, who only dances with him to spite her drunken and bullying lover. Charlie, imagining that she likes him, invites her back to his cabin with her friends for a New Year’s Eve celebration dinner. They do not turn up.
到目前为止，鉴于其内在的象征意义，任何一位分析师听到他的一位病人将这样一个故事描述为一个梦时，可能会担心他的受试者正在走向精神崩溃。显然，这是发育停滞的极端例子。女孩（婴儿阿尼玛形象）和埋藏的宝藏（潜在的人格成长）都“丢失”了。这还伴随着一个同伴的死亡和另一个同伴的失踪（这是对心灵中重要元素的暴力镇压的严重案例！）。
So far, in light of its inner symbolism, any analyst who heard such a story recounted as a dream by one of his patients might fear his subject was heading for nervous breakdown. Clearly this is an extreme case of arrested development. Both the girl (an infantile anima figure) and the buried treasure (potential personality growth) are ‘lost’. This is coupled with the death of one companion and the disappearance of the other (a severe case of violent repression of important elements in the psyche!).
在故事的第二部分中，大吉姆回来了，寻找查理作为一个可以帮助他重回失去的黄金的人。当他们幸运地找到它时，他奖励查理一份股份，他们都成为了百万富翁。但查理仍然很痛苦，因为他失去了他所爱的女孩。换句话说，他已经能够通过在世界上取得成功并建立令人印象深刻的外在形象来弥补自己无法与阿尼玛建立联系的问题。但他的内心根本没有发展，他仍然像故事开始时一样不成熟，他的根本缺陷仍然困扰着他。
In the second part of the story Big Jim returns, looking for Charlie as the one person who can help him retrace his steps back to the lost gold. When, by lucky chance, they find it, he rewards Charlie with a share and they both become millionaires. But Charlie is still miserable because he has lost the girl he loves. In other words, he has been able to compensate for his inability to relate to the anima by becoming successful in the world and building up an impressive outward persona. But in no way has he developed inwardly, he is still as immature as he was at the beginning of the story and his fundamental inadequacy still nags at him.
在第三部分中，查理现在靠自己的努力而变得富有，他正踏上一艘返回文明世界的船，他高兴地穿着他的老流浪汉衣服向摄影师摆姿势。突然，他从栏杆上跌落到船的较低深处，碰巧小乔治亚号正在驾驶舱里。看到他衣衫褴褛，她以为他是一个在逃的偷渡者，并主动提出照顾他。换句话说，他已经退回到无意识中，在那里他找到了他的婴儿阿尼玛投射谁会爱他本来的样子，在他未发育、不成熟的状态下。故事的结尾是希望这两个无性别的“树林里的宝贝”能够结婚并从此幸福地生活：即，一厢情愿地认为他们可以永远幸福地冻结在婴儿状态。从这个角度来看，这根本不是一个令人愉快的小故事。任何想要了解卓别林内心生活的人只需看看他的电影剧本就可以找到大量线索。
In part three Charlie, now rich through no effort of his own, is embarking on a ship back to civilisation, happily showing off as he poses for photographers in his old tramp’s clothes. Suddenly he falls over a rail into the ship’s lower depths, where it just happens that little Georgia is travelling steerage. Seeing him in his old rags, she imagines he is a stowaway on the run and offers to look after him. In other words, he has regressed into the unconscious, where he finds his infantile anima projection who will love him as he really is, in his undeveloped, immature state. The story concludes on the hope that the two little sexless ‘babes in the wood’ can get married and live happily ever after: i.e., in the wishful thinking that they can remain happy frozen in their infantile state forever. Analysed in this light, it is not really a very happy little tale at all; and anyone who wished to understand Chaplin’s inner life need look no further than his film scripts for plenty of clues.
卓别林的朋友、记者阿利斯泰尔·库克（Alistair Cooke）在他的著作《六人》（1977）中观察到卓别林是：
A friend of Chaplin, the journalist Alistair Cooke, in his book Six Men (1977), observed that Chaplin was:
“对女性极具吸引力，并且立即容易受到她们的影响，比大多数人多出两种类型：蛇蝎美人和童女。” 波拉·内格里 (Pola Negri) 和他的第一任妻子米尔德里德·哈里斯 (Mildred Harris) 代表了这一领域的极端对立面。他一次又一次地发现自己与精力旺盛、朴实的女人交往。但他寻找的对象是正值青春期的青少年。他与三人结婚，米尔德丽德·哈里斯 16 岁，他 29 岁；丽塔·格雷 17 岁，当时他 35 岁；乌纳·奥尼尔 18 岁，当时他 55 岁。我认为这是一个有趣但可能无法解释的现象。
‘extremely attractive to women and instantly susceptible to them, to two types more than most: the femme fatale and the child woman. The gamut is represented at its polar opposites by Pola Negri ... and his first wife, Mildred Harris. Time and again he found himself involved with lusty, earthy women. But the ones he sought were nubile adolescents. He married three of them, Mildred Harris at 16, when he was 29; Lita Grey at 17, when he was 35; Oona O’Neill at 18, when he was 55. I state this as an interesting but probably inexplicable phenomenon.’
这种模式非但非“莫名其妙”，事实上，对于那些未能实现“内在女性”在“母亲”和成熟阿尼玛之间完全转变的男性来说，这种模式是再熟悉不过了；因此，她们仍然陷入在“朴实的蛇蝎美人”（母亲）和“童女”（未充分发展的阿尼玛）这两个同样令人沮丧的两极之间不安的波动。然而，很少有人比卓别林有更广泛或公开的机会来展示这种发展停滞的基本症状。
Far from being ‘inexplicable’, the pattern is in fact only too familiar among men who fail to achieve the full transition of their ‘inner feminine’ between ‘Mother’ and a mature anima; and who thus remain caught in uneasy fluctuation between the two, equally frustrating poles of the ‘earthy femme fatale’ (Mother) and the ‘child woman’ (inadequately developed anima). Few men, however, have had more extensive or public opportunities to display this basic symptom of arrested development than Chaplin.
如果不提及 20 世纪 60 年代广受欢迎的音乐剧《窈窕淑女》，好莱坞对白手起家的情节的无数感伤变体的简短总结就不完整。根据萧伯纳的戏剧《皮格马利翁》改编，两个版本的不同之处颇具启发性。
No brief summary of Hollywood’s innumerable variants on sentimentalising the Rags to Riches plot would be complete without a mention of that immensely popular 1960s musical My Fair Lady. Based on Bernard Shaw’s play Pygmalion, it is revealing to note where the two versions differ.
从女主角的角度来看，两个故事都像童话故事一样以多种方式展开。脏兮兮、说话粗俗的小花童伊丽莎·杜利特尔（Eliza Doolittle）习惯了被当作垃圾对待，她遇到了一位神秘的老人，他显然具有超自然的力量（他对语音学的惊人了解，使他能够在开场将每个人都安置在考文特花园）从他们说话的方式来看，他们聚集在距他们居住地几条街的地方）。这个奇怪的“巫师”人物希金斯教授提出与他的朋友皮克林上校打赌，将伊丽莎变成“公主”。她到达了他位于温普尔街的家，在那里她接受了入会仪式（洗个热水澡，洗掉象征她衣衫褴褛的外在形象的所有污垢））。她穿着华丽的衣服，随着故事第一阶段的结束，漫长的转变开始了，伊丽莎向希金斯学习如何像一位女士一样说话。
From the heroine’s point of view, both stories unfold in many ways like a fairy tale. A dirty, coarsely-spoken little flower girl, Eliza Doolittle, used to being treated like garbage, meets a mysterious older person with apparently supernatural powers (his astonishing knowledge of phonetics, which enables him in the opening scene to place everyone in the Covent Garden crowd to within a few streets of where they live, just by the way they speak). This strange ‘Sorcerer’ figure, Professor Higgins, offers, for a bet with his friend Colonel Pickering, to transform Eliza into a ‘Princess’. She arrives at his house in Wimpole Street, where she undergoes a rite of initiation (being given a hot bath to wash away all the grime which symbolises her ragamuffin outward persona). She is dressed up in fine clothes, and as the first stage of the story ends, the long business of transformation has begun, with Eliza learning from Higgins how to talk like a lady.
到下一幕开始时，伊丽莎外在转变的第一阶段就完成了。她现在已经准备好走向世界了，在肖的版本中，她经历了典型的三项考验：拜访希金斯教授母亲的“家里”（在那里她被认为是一位女士）；使馆舞会（在那里她被当作公主）；最后是白金汉宫花园派对。在《窈窕淑女》中，这些测试被减少到两项：希金斯夫人在阿斯科特赛马会上接待她的客人，然后是大使馆舞会。伊丽莎胜利地通过了考验，但是，就像灰姑娘一样，每次她必须回家，如果不是为了衣衫褴褛，至少也要面对希金斯的专横存在，希金斯继续冷漠地对待她，将她视为可怜的小前自我和纯粹的混血儿的结合体。科学实验。
By the beginning of the next act, the first stage of Eliza’s outward transformation is complete. She is now ready to go out into the world, where in Shaw’s version she undergoes the archetypal three tests: a visit to Professor Higgins’s mother’s ‘at home’ (where she is taken for a lady); an embassy ball (where she is taken for a Princess); and finally a Buckingham Palace garden party. In My Fair Lady these tests are reduced to two: Mrs Higgins receives her guests at Ascot races, and this is followed by the embassy ball. Eliza passes the tests triumphantly, but, like Cinderella, each time she has to return home, if not to rags at least to the domineering presence of Higgins, who continues to treat her coldly as a cross between her pitiful little former self and a mere scientific experiment.
换句话说，就像《白手起家》故事的第二阶段一样，女主人公胜利的新外在自我（她的角色）和她真正的、更深层次的自我之间出现了分裂，而她的真实、更深层次的自我正面临着被完全压抑的危险。但我们已经瞥见了她萌芽中的“另一半”，那个爱她自己的“王子”，以弗雷迪·艾恩斯福德-希尔（Freddie Eynsford-Hill）的不太可能的姿态出现，这位中上层阶级的年轻人，作为客人的希金斯夫人被伊丽莎的活泼魅力所折服。
In other words, as usual in the second stage of the Rags to Riches story, a split has opened up between the heroine’s triumphant new outer Self, her persona, and her real, deeper self, which is in danger of being repressed altogether. But we have already caught a glimpse of her embryonic ‘other half’, the ‘Prince’ who loves her for herself, in the somewhat improbable guise of Freddie Eynsford-Hill, the upper-middle-class young man who, as a guest of Mrs Higgins, has been bowled over by Eliza’s spirited charms.
故事的核心危机到来了，在最后一次胜利的考验之后，伊丽莎最终对希金斯居高临下的对待她感到愤怒，并在向他表达了自己的想法后，冲出了家门。一切似乎都已失败，除了她落入等待和溺爱的弗雷迪的怀抱。他们晚上在伦敦闲逛，直到她准备好再次在希金斯母亲的注视下与希金斯进行最后的对抗。伊丽莎终于发现了自己的真实身份。就像简·爱最终摆脱圣约翰·里弗斯并感叹“我的力量终于发挥作用”的那一刻一样，伊丽莎似乎终于准备好摆脱她的“巫师”暴政并完全实现自我。
The central crisis of the story arrives when, after her last triumphant test, Eliza finally explodes in rage at Higgins’s condescending treatment of her and, after giving him a piece of her mind, storms out of the house. All might seem lost, except that she falls into the arms of the waiting and doting Freddie. They wander round London at night, until she is ready for her final confrontation with Higgins, again under the eye of his mother. At last Eliza has discovered who she really is. Like the moment when, as Jane Eyre finally breaks loose from St John Rivers and exclaims ‘at last my powers were in play’, it seems Eliza is finally ready to throw off her ‘Sorcerer’s’ tyranny and come to full Self-realisation.
在这一点上，两个版本出现了分歧。在《窈窕淑女》中，故事的结尾是希金斯在她逃离房子后终于认识到伊丽莎对他来说有多重要。她同样想念他，偷偷溜回屋里找到了他悲伤地听着她录制的声音。有一个令人绝望的悬而未决的感伤结局，传达出她将回来与他同住，但关系却完全模糊且未明确。伴侣？管家？女儿？妻子？我们不知道。
At this point the two versions diverge. In My Fair Lady, the story ends with Higgins finally recognising, after she has fled the house, how much Eliza has come to mean to him. She, equally missing him, steals back into the house and finds him sadly listening to her recorded voice. There is a hopelessly unresolved, sentimental ending where it is conveyed that she will come back to live with him, but in a relationship left wholly vague and unspecified. Companion? Housekeeper? Daughter? Wife? We never know.
在Shaw的版本中，结局却截然不同。伊丽莎最终宣布脱离希金斯，与弗雷迪结婚。正如萧伯纳在《皮格马利翁》的后记中所解释的那样，他们从此或多或少地过着幸福的生活。对于伊丽莎来说，这至少是一个童话般的结局。但如果我们从希金斯的角度来看待这件事呢？毕竟，希金斯更有可能成为该剧作者的身份识别点呢？萧伯纳给这部剧起的名字不是原版神话中变成女人的象牙雕像加拉蒂亚，而是皮格马利翁，她的创造者的名字。希金斯和肖写剧本时一样，是一个中年初期的人。教授的“超自然力量”并不比文字天赋更神奇，正是这种天赋使这位爱嘲讽、反传统的肖先生成为了他那个时代最成功的剧作家。和许多男人一样，萧伯纳最深的问题是他与母亲以及他自己的阿尼玛的关系尚未解决，而阿尼玛是男性心灵中难以捉摸的核心组成部分，在肖的情况下，这一问题从未得到充分认识。这给他与异性的亲密关系带来了无尽的麻烦；尤其是他在公开场合对帕特里克·坎贝尔夫人的迷恋，这令人尴尬，帕特里克·坎贝尔夫人是《皮格马利翁》中扮演伊丽莎的女主角。该剧于 1914 年首次上演，这段恋情始于他 50 多岁的母亲去世后。1
In Shaw’s version, the ending is very different. Eliza, having finally declared her independence of Higgins, goes off with Freddie to get married. As Shaw explains in his Epilogue to Pygmalion, they then live more or less happily ever after. This may be at least the semblance of a fairy-tale ending for Eliza. But what if we look at it through the eyes of Higgins, who was, after all, a much more likely point of identification for the play’s author? Shaw’s name for the play was not Galatea, the ivory statue who was turned into a woman in the original myth, but Pygmalion, the name of her creator. Higgins, like Shaw when he wrote the play, is a man in early middle age. The Professor’s ‘supernatural powers’ are no more magical in their way than the gift for words which had made the mocking, iconoclastic Mr Shaw the most successful playwright of his day. And Shaw’s inmost problem, like that of many men, was with his unresolved tie to his mother and therefore to his own anima, that elusive central component in the male psyche which in Shaw’s case was never fully realised. This gave him endless trouble in his intimate relations with the opposite sex; not least in his embarrassingly public infatuation with Mrs Patrick Campbell, the commanding actress who played Eliza when Pygmalion was first staged in 1914, an affair which began in the wake of his mother’s death when he was in his late 50s.1
这种无法与他内在的女性气质建立安全联系的能力，使肖无法与赋予生命的内在精神领域正确地联系起来。事实上，从完全成长并成为一个“完整”的人开始。从根本上来说，萧伯纳在情感和精神上仍然是一个迟钝的人，一个“无法成长的男孩英雄”，一个叛逆的永恒少年，与自己的男性和女性部分格格不入。其影响反映在他的政治观点中，尤其是他与斯大林统治下的俄罗斯的愚蠢“恋情”，他喜欢将俄罗斯描绘成一个理想化的人间天堂，一个自我的投射象征，由其仁慈的统治所统治。父亲的形象，正值苏联暴政达到凶残的顶峰。在皮格马利翁就在伊丽莎已经发展到能够凭借自己的能力成为令人印象深刻的女性时，希金斯却完全无法认识到这一点。真正的原因在他早些时候对母亲说的话中就已经暴露出来：“哦，我不喜欢女人。” 我心目中可爱的女人就是尽可能像你一样的女人。正当可以带来完整的阿尼玛出现时，“母亲”令人窒息的拥抱介入了；这是一个古老的令人着迷的障碍，它阻碍着一个人，使他无法走向世界并成为一个完整的人。就像一个被宠坏的小男孩一样，希金斯就这样被单独留在母亲身边，完全不知道自己的结局如何。他的行为冷酷而自私。乍一看，这个故事似乎是一个感人且相当有趣的童话故事，有着幸福的结局，但事实证明它有一个相当黑暗的一面。
This inability to relate securely to his inner feminine held Shaw back from ever being able to relate properly with the life-giving internal realm of the spirit; indeed from ever fully growing up and becoming a ‘whole’ man. At root Shaw remained emotionally and spiritually retarded, a ‘boy hero who cannot grow up’, a rebellious puer aeternus, at odds with both the masculine and feminine parts of himself. And the repercussions of this were reflected in his political views, not least in his foolish ‘love affair’ with Stalin’s Russia, which he liked to portray as an idealised heaven-on-earth, a projected symbol of the Self, ruled by its benign Father-figure, just when the Soviet tyranny was at its murderous height. In Pygmalion, just as Eliza has developed to the point where she is capable of becoming an impressive woman in her own right, Higgins is quite unable to recognise it. The real reason is betrayed in his earlier remark to his mother: ‘oh, I can’t be bothered with women. My idea of a lovable woman is someone as much like you as possible.’ Just as the anima which could lead to wholeness emerges, the suffocating embrace of ‘Mother’ intervenes; the age-old beguiling obstacle which stands in the way of a man who cannot go out into the world and become fully a man. Like a spoiled little boy, Higgins is thus left alone with Mother, oblivious to the end of how callously and selfishly he has behaved. A story which may seem, at first sight, to be a touching and rather funny fairy tale, complete with happy ending, turns out to have a rather darker side altogether.
战胜怪物：黑暗版本
Overcoming the Monster: The dark versions
看看故事讲述者的自我和无意识之间的分裂对克服怪物的情节有何影响是有启发性的，因为在其原型形式中，它直接聚焦于与人类自我的力量的斗争。英雄以自我价值观的名义挑战自我主义的怪物。那么当这个原型被自我本身接管时会发生什么呢？
It is revealing to see what the split between a storyteller’s ego and the unconscious does to the plot of Overcoming the Monster, because in its archetypal form this is so directly focused on the battle against the power of the human ego. The hero challenges the monster of egotism in the name of the values of the Self. So what happens when this archetype is taken over by the ego itself?
我们在《弗兰肯斯坦》和《白鲸记》中看到了这种最黑暗的形式，其中英雄和怪物的角色颠倒了。一开始，英雄本人作为故事的主要黑暗人物出现，而怪物则以“光”的形式出现，以低等的形式代表英雄永远无法实现的自我的未实现价值。随着英雄变得更加黑暗，怪物也变得更加黑暗：直到英雄最终被他自己的自我中心的阴影摧毁时，怪物也消失了。
In its darkest form we saw this in Frankenstein and Moby Dick, where the roles of hero and monster are reversed. At the beginning the hero himself appears as the story’s chief dark figure, while the monster appears as ‘light’, representing in an inferior form the unrealised value of the Self which the hero will never achieve. As the hero darkens further, so does the monster: to the point where, as the hero is finally destroyed by the shadow of his own egotism, the monster disappears.
这一情节的“不太黑暗的版本”的一个例子是早期有声电影的好莱坞经典电影《金刚》（King Kong，1933），它以自己的方式几乎同样揭示了现代文明的心理片面性。美国电影导演卡尔·德纳姆正在制作一个极其重要且秘密的新项目。他在纽约租了一艘船，迫切希望找到一位年轻女孩来充当他的明星。当他发现身无分文但美丽的金发女郎安·达罗（费伊·雷饰）从摊位上偷苹果时，他介入阻止她被捕，并将她带上船，这让全男性船员感到厌恶。只有一位年轻军官，英雄杰克·丹霍姆，克服了最初对她女性气质的厌恶，并爱上了她。
An example of the ‘lesser dark version’ of this plot, in its own way almost as revealing about the psychological one-sidedness of modern civilisation, was that Hollywood classic from the early days of sound-pictures, King Kong (1933). An American film director Carl Denham is working on an immensely important and secret new project. He has hired a ship in New York and is desperate to find a young girl to act as his star. Spotting a penniless but beautiful blonde, Ann Darrow (Fay Wray), stealing an apple from a stall, he intervenes to save her from arrest and brings her onto the ship, to the disgust of its all-male crew. Only one young officer, the hero Jack Denholm, overcomes his initial aversion to her femininity and falls in love with her.
船穿越半个地球，在浓雾中抵达一座神秘、未知的岛屿，岛上有一个小半岛，居住着原始人，巨大的古老石墙将其与黑暗、丛林覆盖的内陆隔开。白人看到彩绘部落成员在鼓声的震响中疯狂地工作，而一个小女孩戴着花环，作为“孔的新娘”通过墙上的一扇强大的门被献上。部落成员认为金发白人妇女是更合适的牺牲品，并在夜间来到船上绑架她。她被拖进大门，绑在两根柱子之间，她害怕地看到岛内的神秘居民——一只房子大小的巨猿——向她袭来。但孔没有吃掉她，而是轻轻地将她带入丛林：
The ship crosses half the world to arrive in dense fog at a mysterious, unknown island, which has a small peninsula inhabited by a primitive people, cut off by a massive, ancient stone wall from the dark, jungle-clad interior. The white men see painted tribesmen working themselves into a frenzy, to the throbbing of drums, while a small girl is garlanded with flowers to be offered up through a mighty gate in the wall as ‘the bride of Kong’. The tribesmen see the blonde white woman as a more appropriate sacrifice, and come by night to the ship to kidnap her. She is dragged through the gate and tied between two pillars, where she is terrified to see bearing down on her the mysterious denizen of the island’s interior, a monstrous ape the size of a house. But instead of eating her, Kong carries her gently off into the jungle: a first sign that something unusual is happening to the normal archetypal pattern.
到目前为止，我们所看到的一切都反映了德纳姆和他的全男性船员代表现代美国文明的自我意识的方式，与自然的本能世界隔绝。在船上的金属监狱里，他们被武器和摄像设备包围，代表着片面男子气概的所有局限性。当他们到达该岛时，岛上的地理位置象征着正在发生的事情。这个小小的、有人居住的意识半岛被一道强大的屏障与无意识、有人居住的黑暗内部隔开。本能的自然力量，由于受到压抑，显得阴暗而险恶。现在，女性的价值，阿尼玛，已经进入了无意识的领域，进入了黑暗男性阴影的魔爪，如果想要有任何幸福的解决方案，就必须将她从阴影中拯救出来。
Everything we have seen up to this point reflects the way Denham and his all-male crew represent the ego-consciousness of modern American civilisation, cut off from the instinctive world of nature. In the metal prison of the ship, surrounded with their weapons and camera equipment, they represent all the limitations of one-sided masculinity. When they arrive at the island its geography symbolises what is happening. The small, inhabited peninsula of consciousness is cut off by a mighty barrier from the dark interior of the unconscious, inhabited by the natural forces of instinct which, because they are repressed, seem shadowy and menacing. And now the feminine value, the anima, has passed into that unconscious realm, into the clutches of the shadow of the dark masculine from which she will have to be rescued if there is to be any happy resolution.
回到船上，船员们发现她失踪了，在英雄（他们中唯一对女性价值持开放态度的男人）的带领下，一群人出发去寻找。根据三规则，他们依次受到三个怪物的攻击，首先是两只恐龙，然后是金刚本人。十二个人被杀，只剩下英雄活着。我们和男主角到达了金刚看守女主角的地方，然后看到她受到史前怪物的威胁，同样是三只：霸王龙、巨蛇和翼手龙。每次她经过一番激烈的挣扎后，都被孔救了。第二次战斗结束后，在岩石山脊的高处，他用巨大的手握住她，剥去她薄纱般的衣服，温柔地、甚至戏谑地看着她。尽管在其他方面看起来都是典型的怪物，他透露，他对女主角所代表的女性气质持开放态度。因此，通过阴暗的倒转，他准确地反映了片面男性化的船员所缺乏的未实现的价值。
Back on the ship, the crew discover she is missing and, led by the hero, the only man among them open to the feminine value, a group of them set off in pursuit. By the Rule of Three, they are attacked in turn by three monsters, first two dinosaurs, then King Kong himself. Twelve men are killed, leaving only the hero alive. We and the hero, who has arrived at the spot where Kong is guarding the heroine, then see her being threatened by prehistoric monsters, again three in number: a tyrannosaur, a huge snake and a pterodactyl. Each time she is saved, after a mighty struggle, by Kong. After the second battle, high on a rocky mountain ledge, he holds her in his huge hand, removing strips of her gauze-like clothing, looking at her tenderly, even playfully. Despite seemingly being an archetypal monster in every other way, he reveals that he is open to the femininity the heroine represents. Thus, by shadowy inversion, he reflects precisely the unrealised value the one-sidedly masculine crew-members lack.
唯一的例外是，当金刚击退第三次可怕的攻击时，英雄救出了女主角，他们一起从陡峭的悬崖上绕绳下降入海，进行了一次“惊心动魄的逃脱”。金刚猛烈地追求他所爱的女人，冲破大门进入部落村庄（无意识元素侵入意识），砸毁了房屋，同时咬碎了几个部落成员。他最终被白人的毒气弹打昏，从而被俘虏。
The one exception is the hero who, as Kong fights off the third monstrous attack, rescues the heroine and together they make a ‘thrilling escape’, by abseiling down a sheer cliff into the sea. Kong comes storming in pursuit of the woman he loves, bursts through the gates into the tribal village (unconscious elements irrupting into consciousness) and smashes up the houses while crunching several tribesmen in his jaws. He is finally knocked unconscious by the white men’s gas bombs, enabling him to be taken prisoner.
随后场景切换到纽约，《金刚》将在百老汇剧院上演，被誉为“世界第八大奇迹”。在某种程度上，这与 50 年后的另一部电影相呼应，在这部电影中，来自澳大利亚内陆的“自然”男人米克·“鳄鱼”邓迪也被带到了纽约这个现代美国文明的最高象征，对比之下，突出了其衰弱的一切，非自然的居民因与本能的根源被切断而失去了一切。一群时尚人群涌入剧院观看德纳姆揭晓他的奖项。当被铁链囚禁的孔看到摄影师的手电筒在他心爱的女主角周围闪烁时，她将于第二天与英雄结婚，他愤怒地挣脱枷锁，冲进纽约黑暗的街道，疯狂奔跑，而广阔的，
The scene then switches to New York, where ‘King Kong’ is to be put on show in a Broadway theatre, as the ‘Eighth Wonder of the World’. In some ways this provides an echo of another film, 50 years later, in which Mick ‘Crocodile’ Dundee, the integrated ‘natural’ man from the Australian outback, is also brought to New York, the supreme symbol of modern American civilisation, to highlight by contrast everything its effete, unnatural inhabitants have lost by being cut off from their instinctive roots. A fashionable crowd flocks into the theatre to see Denham unveil his prize. As Kong, imprisoned in steel chains, sees the photographers’ flashlights popping round his beloved heroine, who is due to marry the hero the following day, he angrily bursts his shackles, storms out into the darkened streets of New York and runs amok, while vast, anonymous crowds flee before him in panic.
在将一列高架列车撞成碎片并吃掉更多人之后，金刚终于爬上了一家酒店的半墙，透过一扇亮着灯的窗户，他看到了他正在寻找的奖品，阿尼玛。他抓住她，爬上了纽约最高的塔楼——帝国大厦的塔顶，这部电影拍摄时才刚刚竣工，它被视为 20 年代经济繁荣在美国所释放的狂妄自大的最高象征（正如斯科特·菲茨杰拉德（Scott Fitzgerald）在他的文章《爵士时代》中指出，当纽约人能够爬上世界上最高的塔楼并看到远处地平线上开阔的乡村时，他们陷入了抑郁，这表明他们的城市毕竟并不包含整个世界）。然后是美国的自我意识当五架飞机被派去杀死孔时，孔轻轻地将女主角放在塔顶的壁架上，进行了反击。这些现代人的无名小代表一次又一次地用机枪扫射这个无助的怪物，他的骄傲因技术的力量而膨胀，直到他受了致命伤，摇摆不定，最后一次向女主角伸出了手。温柔告别的姿态。然后他倒在了下面的街道上，变成了一堆死气沉沉的东西，周围都是目瞪口呆的人群。
Having smashed an elevated train to pieces, and eaten more people, Kong finally climbs half way up the wall of a hotel where, through a lighted window, he sees the prize he is looking for, the anima. Seizing her, he climbs to the top of the highest tower in New York, the Empire State Building, which had only just been completed when the film was made as the supreme emblem of the hubris unleashed in America by the 1920s’s boom (which, as Scott Fitzgerald noted in his essay The Jazz Age, crashed into depression just when New Yorkers could climb that tallest tower in the world and see on the distant horizon open countryside, showing that their city did not comprise the entire world after all). Then America’s ego-consciouness hits back, when five aircraft are sent up to kill Kong, who has gently placed the heroine on a ledge at the very top of the tower. Again and again these anonymous little representatives of modern man, his pride inflated by the power of his technology, zoom down on the helpless monster with machine-guns blazing until, as he sways, mortally wounded, he reaches down to the heroine in a last gesture of tender farewell. He then topples down to become a lifeless heap in the street below, surrounded by the usual goggling crowd.
男主人公出现在塔顶，拥抱从怪物手中救出的女主人公，这样故事就可以以熟悉的男女相爱的原型形象结束，怪物/阴影最终被战胜。只是在这里我们留下了一种深刻的感觉，即我们根本没有看到正确的原型结局。在他对阿尼玛的感人之爱中，怪物绝不是完全的怪物；它是一个怪物。在某些方面，他们不如那些被困在有限的自我意识中的现代小男人，他们的力量全部通过机器向外投射，而他们的女性意识却不存在。故事的最后，“国王”死了。尽管纸板中央夫妇举行了仪式，但没有其他国王取代他的位置。
The hero emerges at the top of the tower to embrace the heroine saved from the monster’s clutches, so that the story can end on that familiar archetypal image of man and woman united in love, with the monster/shadow finally overcome. Except that here we are left with a profound sense that we have not seen the proper archetypal ending at all. In his touching love for the anima, the monster was by no means wholly a monster; in some respects less so than those little modern men, trapped in their limited ego-consciousness, whose strength was all projected outward through their machines, while their sense of the feminine was non-existent. At the end of the story, the ‘King’ is dead. Despite the ritual coming together of the pasteboard central couple, there is no other King to take his place.
战胜怪物：感伤版
Overcoming the Monster: The sentimental version
如果说任何典型故事的感伤版本都向我们展示了它的轮廓，有圆满的结局，但却失去了其更深层次的意义，那么《战胜怪物》的情节无疑适合像其他故事那样进行这样的处理。在无数的现代故事中，我们看到“好人”以社区、人性和生命的名义出发挑战“坏人”。当他们克服了人性中所有黑暗部分的拟人化时，似乎古老的原型就被完全演绎出来了。但当我们更仔细地审视这些故事时，我们可以看到自从这个情节首先以吉尔伽美什或大卫、珀尔修斯或贝奥武夫等伟大的神话原型为中心以来，发生了一些非常重要的事情。关键是要记住原型不仅仅关心从怪物手中拯救社区的外在行为。阿尼玛和他对“王国”的继承统治。
If the sentimental version of any archetypal story shows us its outline, complete with happy ending, but drained of its deeper significance, the Overcoming the Monster plot certainly lends itself to such treatment as much as any other. There are countless modern stories where we see ‘goodies’ setting out to challenge ‘baddies’ in the name of the community, humanity and life. When they have overcome this personification of all that is dark in human nature, it might seem as if the age-old archetype was being fully acted out. But when we examine these stories more closely we can see how something very significant has happened since this plot first centred on such great mythic prototypes as Gilgamesh or David, Perseus or Beowulf. The key is to recall how the archetype is not just concerned with the outward act of saving the community from the monster. It is also the personal story of the hero himself, showing how he develops inwardly through his struggle with the monster until we see him emerging to full Self-realisation, usually symbolised by his union with the anima and his succession to rule over a ‘kingdom’.
故事未能达到其原型的一个明显方式是在所有那些“怪物”故事中，英雄并没有真正战胜怪物，而只是“惊险地逃离死亡”：《深坑与钟摆》、《 La 》 《瘟疫》、《地狱》、《侏罗纪公园》等等。这些故事的要点在于，它们只是在感情用事地玩弄原型的外在形式：一种感觉来自于认同一个英雄，他面临着日益严重的死亡威胁，但最终通过自己的特殊努力奇迹般地逃脱了。乔治·克鲁佐的电影《死亡的代价》，1952）是此类故事的一个典型例子，三名卡车司机必须驾驶装满高度危险硝基甘油的卡车穿越数英里的陡峭未修筑的山路。不可避免地会有两颗爆炸，让英雄根据三法则在关键时刻逃到安全地带。但尽管他可能有尽管他表现出了令人钦佩的勇气，但他几乎算不上是一个经历过对抗和杀死活生生的怪物的性格塑造磨难的英雄。从某种意义上说，他是被动地经历了这次磨难，只是顽强地坚持自己的任务，相信运气，直到成功。
One obvious way in which the story can fall short of its archetype is in all those ‘monster’ stories where the hero does not actually overcome the monster but where he simply makes a ‘thrilling escape from death’: The Pit and the Pendulum, La Peste, Inferno, Jurassic Park and many others. The point about such stories is that they are just playing sentimentally with the outward form of the archetype: the sensation to be derived from identifying with a hero who faces the mounting threat of death but finally makes a miraculous escape through no particular effort of his own. George Clouzot’s film La Salaire du Peur (The Wages of Death, 1952) was a classic example of this type of story, where three truck drivers must take their lorries packed with highly dangerous nitro-glycerine across miles of precipitous unmade mountain roads. Inevitably two explode, leaving the hero, by the Rule of Three, to make it to safety in the nick of time. But though he may have shown admirable courage, he is scarcely a hero who has been through the full character-forming ordeal of confronting and slaying a living monster. In a sense, he has experienced his ordeal passively, just sticking doggedly to his task, trusting to luck until he comes through.
这个故事可以脱离其完整原型形式的另一个明显方式是，怪物不再被呈现为人性中所有黑暗事物的抽象，而是将其特征向外投射到某些敌对的社会或国家群体上。正如我们所看到的，甚至在《圣经》中也有这样的元素，其中非利士人的冠军歌利亚在犹太人的眼中被赋予了怪物的所有原型特征。另一方面，犹太强人参孙则被描绘成民族英雄。尽管非利士人对他的看法可能与犹太人对歌利亚的看法大致相同。
Another obvious way in which this story can become detached from its full archetypal form is where the monster is no longer presented as an abstract of all that is dark in human nature, but where its characteristics are projected outwardly onto some rival social or national group. There are elements of this, as we saw, even in the Bible, where Goliath, the champion of the Philistines, is invested through Jewish eyes with all the archetypal character of the monster. Samson, the Jewish strong man, on the other hand, is presented as a national hero; although, by the Philistines, he might have been viewed in much the same light as was Goliath by the Jews.
我们在受第二次世界大战启发的无数虚构版本的“克服怪物”情节中看到了类似的趋势，德国人被赋予了怪物的所有原型特征。这并不意味着希特勒和纳粹实际上没有表现出这样的特征。但当这场巨大的历史斗争变成虚构的娱乐时，就像《纳瓦隆之枪》或《突出部之战》中那样，这些都不可避免的要以与‘怪物’的外在投射的战斗为主。我们将这些故事中的英雄视为光明，因为他们表现得英勇、勇敢、光荣和无私；因为他们的对手通常都具有历代故事中黑暗人物所表现出的所有黑暗和消极品质。但在演绎《战胜怪物》故事的外在模式时，原始原型的内在部分，即英雄个人成熟到自我实现的故事，实际上已经消失了。
We see a similar tendency in those countless fictional versions of the Overcoming the Monster plot inspired by World War Two, where the Germans are invested with all the archetypal characteristics of the monster. This does not mean that Hitler and the Nazis did not in reality display such characteristics. But when this vast historical struggle came to be turned into fictional entertainment, as in The Guns of Navarone or The Battle of the Bulge, it was inevitable that these should be dominated by the outwardly projected battle with the ‘monster’. We see the heroes of such stories as light, because they are shown behaving heroically, bravely, honourably and selflessly; and because their opponents are generally shown with all the dark and negative qualities displayed by dark figures in stories down the ages. But in acting out the outward pattern of the Overcoming the Monster story, the inward aspect of the original archetype, as the story of a hero’s personal maturing to Self-realisation, has virtually disappeared.
这种向外投射的一个元素仍然存在于冷战初期首次出现的系列故事中，它们以最著名的“怪物杀手”为二十世纪下半叶的流行故事提供了基础。伊恩·弗莱明的詹姆斯·邦德小说及其随后启发的电影的成功，恰恰在于他们成功地塑造了一个英雄，尽管完全是当代的，但似乎扮演了昔日怪物杀手的典型角色。到最微小的外部细节。尽管他的对手符合冷战时代的预测，因为他们的阴谋计划威胁着英国、美国或“西方”的生存，弗莱明仍然设法将他们提升到一个更永恒的层面，
An element of this outward projection remained in that series of tales which, first appearing in the early years of the Cold War, were to provide popular storytelling in the second half of the twentieth century with its most celebrated ‘monster slayer’. The success of Ian Fleming’s James Bond novels, and the films they subsequently inspired, lay precisely in the extent to which they managed to create a hero who, while wholly contemporary, nevertheless seemed to act out the archetypal role of the monster slayers of yore down to the tiniest outward detail. Even though his antagonists fitted the projections of the Cold War era, in that their conspiratorial schemes threatened the survival of Britain, America or ‘the West’, Fleming still managed to lift them onto a more timeless plane, by creating a succession of villains as cosmically evil as any monsters of myth.
但弗莱明故事的一个特点非常引人注目，以至于在电影版本中被变成了自我嘲讽，那就是故事的结局。几乎在每一次，当高潮的战斗取得胜利时，邦德都会投入美丽女英雄的怀抱，将她从怪物的魔掌中解放出来。这似乎是一个完美的原型结论，英雄和阿尼玛欢乐结合在一起的形象。当然，每个故事中的人物都是不同的女人，每个人都有一个随意的、随意的、双关语式的名字，比如《Pussy Galore》、《Honeychile Rider》、《Tiffany Case》。这样的一次性女性形象仅仅被视为男性性欲的幻想对象，很难被视为“永恒的女性”的代表。我们还可以注意到，没有任何迹象表明邦德已经获得了对任何类型“王国”的统治。事实上，通过这个故事，他的内心根本没有发展和成熟的迹象。在一个又一个的故事中，他和一直以来的纸板人一模一样。就像一个自动机一样，具有完全相同的外在特征和反应，就像想要引诱眼前的每一个漂亮女人，同时要求他的伏特加马提尼酒“摇晃而不是搅拌”。
But one feature of Fleming’s stories so striking that in the film versions it was turned into self-parody is their endings. In almost every instance, when the climactic battle has been brought to its triumphant conclusion, Bond sinks into the arms of the beautiful heroine whom he has liberated from the monster’s clutches. It might seem like the perfect archetypal conclusion, the image of hero and anima coming together in joyful union. Except that in every story it is, of course, a different woman, each given a flip, throwaway, double-entendre-type name such as Pussy Galore, Honeychile Rider, Tiffany Case. Such disposable images of womanhood, viewed only as fantasy objects of male erotic desire, can scarcely be taken as standing for ‘the eternal feminine’. We may also then note that there is no sign of Bond having attained rule over any kind of a ‘kingdom’. Indeed there has been no sign of his inwardly developing and maturing through the story at all. He is exactly the same cardboard figure he has been all along, through story after story; programmed like an automaton with exactly the same set of outward characteristics and responses, like wanting to seduce every pretty woman in sight, while demanding that his vodka-martinis be ‘shaken not stirred’.
显然，邦德只是一个二维的幻想投影，我们可能会想知道弗莱明最初是如何以及为何构思他的英雄的。约翰·皮尔逊（John Pearson）在弗莱明死后出版的传记对此作出了相当大的阐述。我们了解到，作为一个痴迷于跑车和追逐漂亮女孩的年轻人，他在第二次世界大战前的白日梦中首先想象了成为邦德的人物，在此期间他在海军情报部门服役了几年。正是这种幻想自我的投射，他将他发展成为《皇家赌场》的英雄是 1953 年出版的第一部邦德小说。弗莱明喜欢通过想象他的幻想自我如何享受他所希望的所有以自我为中心的满足感而获得报酬：驾驶他的跑车；过着情报人员的秘密生活；与源源不断的崇拜女性一起轻松享受性成功；智胜并杀死他的对手。然而，这一切在某种程度上似乎在道德上是合理的，因为他是为了一个更崇高的事业而这样做的：为他的国家而战；为“我们这一方”而战，对抗密谋摧毁西方文明的邪恶恶棍。因此，自我的价值观可以被用来神圣化本质上只是以自我为中心的自我放纵。
So obviously is Bond just a two-dimensional fantasy projection that we might wonder how and why Fleming came to conceive his hero in the first place. Considerable light was shed on this by the biography of Fleming published after his death by John Pearson. We learn how as a young man, obsessed with fast cars and chasing pretty girls, he first imagined the figure who was to become Bond in his daydreams before World War Two, during which he served for several years in Naval Intelligence. It was this projection of his fantasy-self whom he developed into the hero of Casino Royale, the first Bond novel published in 1953. Fleming relished being paid for imagining how his fantasy-self could enjoy all the egocentric gratifications he could have wished for: driving his sports cars; living the secret life of an intelligence agent; enjoying effortless sexual success with an endless stream of adoring women; outwitting and killing his opponents. Yet all this seemed somehow morally justified by the fact that he was doing it in the name of a higher cause: fighting for his country; battling for ‘our side’ against wicked villains plotting the downfall of Western civilisation. The values of the Self could thus be called in to sanctify what was essentially just ego-centred self-indulgence.
如果这表明在现实生活中弗莱明是一个“无法长大的男孩英雄”，或者puer aeternus，这从他与异性关系的不愉快故事中得到了证实。一连串的女人可以证明他是如何像邦德一样冷酷地抓住她们又抛弃她们。直到生命的最后一刻，他都没有成长为一个完整的、情感上有安全感的人。从这个意义上说，值得注意的是，邦德在故事中总是与权威保持着一种奇怪的矛盾、不成熟的关系，特别是与最终统治他生活的全能人物、特勤局局长“M”（尽管，就像一个永远的小学生一样，他总是准备在背后对“M”进行秘密的窥探）。人们可能会认为“M”就是弗莱明一生中如此缺乏的父亲形象，他的父亲在他还是个孩子的时候就在第一次世界大战中去世了。但是，考虑到他在与女性建立成熟的关系方面遇到的困难，皮尔逊的传记中没有什么比他对弗莱明母亲的专横个性给弗莱明的生活蒙上阴影的描述更具有启发性的了。最有趣的是他总是称他的母亲为“M”。
If this suggests that in real life Fleming was something of a ‘boy hero who cannot grow up’, or puer aeternus, this was borne out by the unhappy story of his relations with the opposite sex. A succession of women could testify how he took them up and cast them off just as callously as Bond. To the end of his days he never matured into a whole, emotionally secure man. And in this sense it is noticeable how Bond always remained in a curiously ambivalent, immature relationship to authority in the stories, in particular to the all-powerful figure who ultimately ruled his life, the head of the Secret Service, ‘M’ (although, like a perpetual schoolboy, he was always prepared to cock a secret snook at ‘M’ behind his back). One might think ‘M’ was thus the Father-figure whom Fleming so lacked in his life, his father having died in the First World War when he was still a boy. But, considering the difficulty he had in relating maturely with women, nothing in Pearson’s biography was more illuminating than his account of the shadow cast over Fleming’s life by the dominating personality of his mother. And most interesting of all was the revelation that he always referred to his mother as ‘M’.
星球大战：原型错误
Star Wars: Getting the archetype wrong
关于克服怪物原型的感伤化的最后一个例子，我们可以回到受欢迎程度甚至超过邦德电影的科幻电影，乔治卢卡斯的星球大战（1977）。我们之前看到这个故事似乎如何有效地触动了观众的深刻共鸣，通过发现当代意象表达了许多基本象征意义，这些象征意义自故事开始以来就激发了神话和传说的灵感。后来人们才发现，这是多么刻意和有意识地达到了这一点，在流行故事讲述中几乎独一无二的一集中，卢卡斯借鉴了美国杰出作家约瑟夫·坎贝尔关于英雄在世界中的象征作用的知识。神话和民间传说，以确保他的故事尽可能忠实地符合其原型模式和意象。由此，他在故事的力量中发展了如此重要的成分，例如有抱负的英雄卢克·天行者和“聪明的老人”欧比旺·克诺比之间的关系，后者就像梅林之于亚瑟或甘道夫之于佛罗多一样，启发了他年轻的学生进入使自己与“原力”和谐相处的奥秘：
For a final example of the sentimentalisation of the Overcoming the Monster archetype, we may return to the science fiction film which exceeded even the Bond movies in popularity, George Lucas’s Star Wars (1977). We saw earlier how effectively this story seemed to touch such a deep chord with its audience, by finding contemporary imagery to express so much of the basic symbolism which had inspired myths and legends since stories began. What only later came to light was how deliberately and consciously this had been arrived at, when, in an episode almost unique in popular storytelling, Lucas drew on the knowledge of Joseph Campbell, the distinguished American writer on the symbolic role of the hero in world myth and folklore, in an effort to ensure that his story matched up as faithfully as possible to their archetypal patterns and imagery. From this he developed such important ingredients in the power of his story as the relationship between the aspiring hero, Luke Skywalker, and the ‘wise old man’ Obi-Wan Kenobi who, like Merlin to Arthur or Gandalf to Frodo, initiates his young pupil into the mystery of bringing himself into harmony with ‘the force’: the cosmic force of life itself, expressing the irresistible power of the Self to overcome the powers of darkness.
但是，无论卢卡斯如何仔细地围绕这些原型基本规则来塑造他的剧本，在某些关键方面，最终的故事暴露了这样一个事实：作为一个有意识的构建，它没有得到正确的模式。它不是基于对底层原型的正确理解。尤其重要的是，当英雄和他的同伴穿透死星的黑暗迷宫营救女英雄莱娅公主时所发生的事情。他们成功地释放了她，但同时也让她的俘虏者、可怕的达斯·维德仍然活着，并控制着他的黑暗王国。这忽略了原型象征主义的本质。阿尼玛_只有在最终战胜怪物的那一刻，才能得到真正的解放。正是因为阴影被消除了，她才终于能够出现在光明之中。只有杀死求婚者，奥德修斯才能解放他的阿尼玛佩内洛普；只有珀尔修斯打败了波塞冬的海怪，他才能与安德洛墨达联合；只有当阿拉丁最终杀死了魔法师，他才能与他的公主完全结合。
But however carefully Lucas tried to shape his script around these archetypal ground rules, there were certain crucial respects in which the resulting story betrayed the fact that, as a conscious construct, it had not got the pattern right. It was not based on a proper understanding of the underlying archetype. Particularly significant is what happens when the hero and his companions penetrate the dark labyrinth of the Death Star to rescue the heroine, Princess Leia. They succeed in freeing her, but in doing so they leave her captor, the monstrous Darth Vader, still alive and in control of his dark kingdom. This misses the very essence of what the archetypal symbolism is about. The anima can only properly be liberated at the moment when the monster is finally overcome. It is precisely because the shadow has been eliminated that she can finally emerge into the light. It is only by killing the suitors that Odysseus can liberate his anima Penelope; only when Perseus has defeated Poseidon’s sea-monster that he can be united with Andromeda; only when Aladdin has finally slain the Sorcerer that he can be fully united with his Princess.
影片结尾处出现了同样明显的反常现象，在义军联盟的大厅里，我们看到卢克·天行者和他的盟友汉·索罗穿过欢呼的人群，因他们拯救宇宙的勇敢而受到表彰。公主本人。虽然在卢卡斯的书版中，我们被告知英雄的眼睛里只有美丽的公主，她俯视着他，但我们在电影版中看到的并不是真正幸福的男人和女人之间的宇宙结合。结尾。这不是奥德修斯和佩内洛普融进彼此怀抱的那一刻；而是那一刻。当灰姑娘终于与她的王子合二为一时；当里昂提斯终于可以再次拥抱他的赫敏时。卢克无法与他的公主团聚，因为他尚未完全成熟。2
An equally telling aberration appears right at the end of the film when, in the great hall of the Rebel Alliance, we see Luke Skywalker and his ally Han Solo walking up through a cheering crowd, to be decorated for their bravery in saving the universe by the Princess herself. Although in Lucas’s book version we are told that the hero only has eyes for the beautiful Princess as she looks down at him, what we see in the film version is not the cosmic union between man and woman we see at the heart of a true happy ending. It is not the moment when Odysseus and Penelope melt into each other’s arms; when Cinderella is finally at one with her Prince; when Leontes can finally once again embrace his Hermione. Luke cannot be united with his Princess, because he has not yet achieved full mature manhood. As he and Solo together come to the platform to be congratulated, they are more like boys walking up in front of their classmates to receive the approbation of their teacher, or even ‘Mother’.2
因此， 《星球大战》原版电影的结局在两个重要方面告诉我们很多关于创造它的社会的信息。第一个是以两个男英雄并肩站在一起的形象结束的。DH 劳伦斯在他的《美国文学经典研究》（1924 年）中首先指出，自费尼莫尔·库珀的《最后的莫希干人》（1826 年）和马克·吐温的《汤姆·索亚历险记》（1876 年）以来，有多少美国故事没有结束。典型的形象是一个男人和一个女人在爱情中结合在一起，但在两个男性人物身上，他们的冒险在情感上建立了友谊。无数好莱坞电影都以这样的形象结尾：正如我们所看到的，例如《卡萨布兰卡》（1942）当这对恋人终于逃到安全地带后，亨弗莱·鲍嘉在他的新朋友和同伙法国警察局长的陪同下离开机场，前往维希统治的摩洛哥面对孤独和不确定的未来。另一个著名的例子是《豪勇七人组》，结局是尤尔·伯连纳和史蒂夫·麦奎因这两个无根雇佣兵，跨越地平线，走向同样未知的未来。
In two significant respects, the conclusion to the original film of Star Wars thus tells us much about the society which created it. The first is the way it ended on the image of two male heroes standing together side by side. It was D. H. Lawrence, in his Classic Studies in American Literature (1924), who first pointed out how many American stories, since Fenimore Cooper’s The Last of the Mohicans (1826) and Mark Twain’s The Adventures of Tom Sawyer (1876), end not with the archetypal image of a man and a woman united in love but on two male figures, emotionally bonded in friendship by their adventures. Innumerable Hollywood films end on such an image: as we see, for instance, in Casablanca (1942) when, after the lovers have finally made their escape to safety, Humphrey Bogart leaves the airfield accompanied by his new friend and accomplice, the French police chief, to face a solitary and uncertain future in Vichy-ruled Morocco. Another famous example is The Magnificent Seven which ends with Yul Brynner and Steve McQueen, the two rootless hired guns, riding over the horizon to a future similarly unknown.
同样具有启发意义的是，《星球大战》的结局是两位英雄一起走过一屋子欢呼的人们，这反映出，在美国生活方式的主流精神中，最高的奖赏可能不是实现个人成熟但仅仅是为了赢得群众、集体、自己的团体、同胞的认可。令人惊奇的是，有多少好莱坞电影的结局，就像《美好的生活》中那样，关于一个或多个英雄受到一群美国同胞的欢呼的形象。美国人性格中这一极其重要的方面源于一个社会无根的不安全感，这个社会在其最初形成的方式中带有如此多无意识的情感挫伤：来自于逃离欧洲“成熟”的旧世界的反叛欲望，以及将白人的意志强加于这片广阔的自然荒野和居住在那里的原始居民的斗争的心理片面性。所有这一切都在美国文化中造成了一种普遍的不成熟，我们在整个历史中都能看到这种不成熟的反映，不仅体现在百老汇音乐剧无处不在的感伤和好莱坞的赛璐珞梦中，甚至体现在美国最受尊敬的小说家梅尔维尔和亨利的故事中。詹姆士，欧内斯特·海明威和斯科特·菲茨杰拉德、诺曼·梅勒和 JD·塞林格、菲利普·罗斯和约翰·厄普代克。正是这一点有助于解释一个值得注意的事实，即过去两个世纪中在美国构思的故事很少能够以完全成熟、完全实现的自我的明确形象来解决。
Equally revealing is the way Star Wars ends on the image of the two heroes walking up together through a roomful of cheering people, This reflects how, in the prevailing ethos of the American way of life, the highest prize may be not to achieve individual maturity but simply to earn the approbation of the crowd, the collective, one’s own group, one’s fellow citizens. It is again remarkable how many Hollywood movies end, as in This Wonderful Life, on the image of the hero or heroes being acclaimed by a crowd of their fellow-Americans. This profoundly important aspect of the American character originated in the rootless insecurity of a society which carried so much unconscious emotional bruising from the way it was originally forged: from the rebellious desire to escape from the oppressively ‘grown-up’ old world of Europe, and from the psychological one-sidedness of the struggle to impose the white man’s will on that vast natural wilderness and on the original inhabitants who lived there. All this has engendered in American culture an endemic immaturity which we see reflected throughout its history, not just in the all-pervasive sentimentality of Broadway musicals and the celluloid dreams of Hollywood, but even in the stories of America’s most admired novelists: Melville and Henry James, Ernest Hemingway and Scott Fitzgerald, Norman Mailer and J. D. Salinger, Philip Roth and John Updike. It is this which helps to explain the remarkable fact that so few stories conceived in America over the past two centuries have ever managed to resolve in an unambiguous image of the fully mature, fully realised Self.
第二十三章
自我接管（三）
任务、航海与归来、喜剧
Chapter Twenty-Three
The Ego Takes Over (III)
Quest, Voyage and Return, Comedy
“在我们面前进行了一次大规模的挖掘，不是最近的，因为侧面已经塌陷，底部长出了草……一切都清楚了……储藏室已经被发现并被搜查：七十万英镑不见了！ '
‘Before us was a great excavation, not very recent, for the sides had fallen in and grass had sprouted on the bottom ... all was clear ... the cache had been found and rifled: the seven hundred thousand pounds were gone!’
RL 史蒂文森，《金银岛》
R. L. Stevenson, Treasure Island
“当最高价值和最高否定都在外面时，灵魂是空的。”
‘When the Supreme Value and the Supreme Negation are both outside, the soul is void.’
CG郑
C. G. Jung
继续我们对原型情节被自我侵占时会发生什么的调查，本章着眼于《探索》、《航行》、《回归》和《喜剧》的黑暗和感伤版本。
Continuing our survey of what happens to the archetypal plots when they are appropriated by the ego, this chapter looks at dark and sentimental versions of the Quest, Voyage and Return and Comedy.
正如《奥德赛》中的那样，探索的基本原型向我们展示了英雄走向遥远目标的旅程，当目标实现时，结果象征着他的自我实现。这种反转，就像《白鲸记》中那样，向我们展示了一个黑暗英雄，他的一生致力于摧毁自我的外在投射，从而导致他自己的自我毁灭。
The fundamental archetype of the Quest, as in the Odyssey, shows us the journey of its hero towards a distant goal which, when it is reached, turns out to symbolise his Self-realisation. The inversion of this, as in Moby Dick, shows us a dark hero whose life-journey is dedicated to destroying an outward projection of the Self, bringing about his own self-destruction.
这种真正黑暗的形式在讲故事中非常罕见。但我们可以在许多著名的故事中看到探索原型的精髓，这些故事都是围绕一个黑暗英雄为实现某个遥远而重要的目标而执着的动力；但结果却是对一些象征着完整性和“光”的形象的破坏。
Such a truly dark form is very rare in storytelling. But we can see the essence of the Quest archetype in a number of well-known stories which are shaped around a dark hero’s obsessive drive to reach some distant, all-important goal; but which then turns out to be the destruction of some figure symbolising wholeness and ‘light’.
一个强有力的例子是早期现代小说塞缪尔·理查森的《克拉丽莎》（1748）。在文学史上，很少有书比这部极其长的故事更能引起轰动，它最初分八期出版，提供了对地震的早期预感，在接下来的一个世纪里，这场地震即将动摇西方故事讲述的基础。
A powerful example was that early modern novel Samuel Richardson’s Clarissa (1748). Few books have caused more of a stir in the history of literature than this immensely long story, originally published in eight huge instalments, providing an early premonition of the earthquake which, over the century following, was about to shake Western storytelling to its foundations.
故事的中心是潇洒放荡的主人公洛夫莱斯对勾引美丽、贤惠、意志坚强的女主人公克拉丽莎的痴迷欲望。当她因拒绝家人想要她结婚的男人而被家人锁起来时，洛夫莱斯救了她并将她带到伦敦。但这只是将她置于他的权力之下，所以他可以自由地用他能想到的一切诡计和手段来围攻她的美德。尽管承受了他的所有攻击，她仍然是理想化阿尼玛的典范，贞洁和至高无上的女性气质的灵魂；直到数百页之后，洛夫莱斯终于成功地对她下药并强奸了她。这让她如此沮丧，以至于她开始失去理智。她最终逃脱了，忍受了更多的恐怖，比如被投入监狱，但被代表洛夫莱斯“光明的另一个自我”的贝尔福特救了。在他的照顾下，她恢复了理智，但身体继续恶化，直到最后，她与世界和上帝和解后去世了。当这部小说连续出版时，这个悲剧性的结局，展现了一位善良的女主人公被无端摧毁，引起了极大的恐惧，欧洲各地的读者纷纷抗议，恳求理查森提供一个更幸福的结局。但事情已经完成了。在她死后，洛夫莱斯在决斗中被克拉丽莎的表弟杀死，他的罪行终于得到了偿还。
The story centres on the obsessive desire of its dashing libertine hero, Lovelace, to seduce the beautiful, virtuous, strong-minded heroine Clarissa. When she is locked away by her family for refusing the man they want her to marry, Lovelace rescues her and carries her off to London. But this only places her in his power, so he is free to lay siege to her virtue by every trick and device he can think of. Withstanding all his assaults, she remains a model of the idealised anima, the soul of chaste and sovereign femininity; until, after many hundreds of pages, Lovelace finally manages to drug and rape her. This leaves her so devastated that she begins to lose her reason. She finally escapes, to endure more horrors such as being thrown into prison, but is rescued by Belfort, who represents Lovelace’s ‘light Alter-Ego’. Under his care, she recovers her sanity but continues to decline physically, until at last, having made her peace with the world and with God, she dies. This tragic conclusion, showing a virtuous heroine gratuitously destroyed, aroused such horror when the novel was first appearing in successive instalments that readers all over Europe rushed to protest, imploring Richardson to provide a happier ending. But the deed was done. And, after her death, Lovelace is finally paid out for his crime when he is killed in a duel by Clarissa’s cousin.
由于它不涉及外在的、身体上的旅程，因此认为克拉丽莎是由探索原型塑造的似乎很奇怪。但是，从内在的角度来看，这就是这个故事的内容。就像在更传统的探索中一样，维持我们对故事兴趣的悬念全部在于一个压倒一切的问题：英雄是否会达到他生活中其他一切都已服从的中心目标？克服克拉丽莎的反抗并夺走她的童贞已成为他不遗余力的目标。但我们毫不怀疑他的目的是完全黑暗的。与亚哈一样，我们知道英雄渴望做出一件象征性的行为，这已成为最终的宇宙犯罪：侵犯阿尼玛，自我的毁灭。故事的全部意图是将女主人公呈现为男主人公的绝对对立面：闪亮而无私的“光明女性”首先被围攻，然后最终被“黑暗男性”的完全无情的自我中心摧毁。
Since it is not concerned with an outward, physical journey, it may seem odd to suggest that Clarissa is shaped by the archetype of the Quest. But, on an inward level, this is what the story is about. As in a more conventional Quest, the suspense which sustains our interest in the story lies all in that one overriding question: will the hero reach that central goal to which everything else in his life has become subordinated? To overcome Clarissa’s resistance and take her virginity has become his one all-consuming aim. Yet we are in no doubt that his purpose is entirely dark. As with Ahab, we know the hero is possessed by the desire to commit a deed which symbolically has become the ultimate cosmic crime: the violation of the anima, the destruction of the Self. The story’s whole intention is to present the heroine as the hero’s absolute antithesis: the shining and selfless ‘light feminine’ being first besieged, then finally destroyed by the utterly ruthless egocentricity of the ‘dark masculine’.
在这方面，我们无法回避理查森作为故事创作者的立场的模糊性。尽管他将克拉丽莎塑造成女性的理想化身，但他这样做只是为了幻想他的英雄试图以各种方式贬低和玷污她；他这样做只是为了幻想他的英雄试图以各种方式贬低和玷污她；而他的英雄形象却是这样的。将她安置在妓院，对她进行人身攻击，强奸她，将她投入监狱，最后想象她的死亡。从这个意义上说，克拉丽莎成为了马里奥·普拉兹在《浪漫的痛苦》中所说的原型。从十八世纪末开始，“受迫害的少女”就成为浪漫主义时代戏剧、歌剧和小说中的一个显着特征：美丽、贤惠的女主人公，在许多作家的幻想中扮演的主要角色是被描述为被监禁、迫害、虐待或谋杀；或者只是因消耗而消瘦而悲惨地早逝，如《茶花女》、《茶花女》或《波西米亚人》中那样。
In this respect we cannot escape the ambiguity of Richardson’s own position as the story’s creator. Although he built up Clarissa as an idealised personification of the feminine, he did so only in order to fantasise his hero attempting in every way to degrade and defile her; placing her in a brothel, physically assaulting her, raping her, consigning her to prison, finally imagining her death. In this sense, Clarissa became a prototype for what Mario Praz called in The Romantic Agony ‘the persecuted maiden’ who, from the late-eighteenth century onwards, was to become such a conspicuous feature of plays, operas and novels in the age of Romanticism: the beautiful, virtuous heroine whose chief role in the fantasies of so many authors was to be portrayed as imprisoned, persecuted, ill-treated or murdered; or just wasting away through consumption to a tragically early death, as in La Traviata, La Dame Aux Camellias or La Boheme.
一旦我们认识到这个人物象征着阿尼玛（anima ）、灵魂的拟人化的重要性，这对“受迫害少女”形象所代表的文化在精神上、道德上和心理上正在开始发生的事情传达了多么深刻的洞察力。成为这样一个中心象征人物。理查森创作《克拉丽莎》后不到五十年，萨德侯爵就写了他的公开色情小说《贾斯汀》；美德的不幸。在这里，作者可以想象他无助的女主人公遭受的持续不断的身体虐待和性虐待，直到她最终无端地暴力死亡，这更明显地开始将西方世界的故事讲述带向一个全新的阶段。发展。
Once we recognise the significance of this figure as symbolising the anima, the personification of the soul, what an insight this conveys of what was beginning to happen, spiritually, morally and psychologically, to the culture for which the image of the ‘persecuted maiden’ was to become such a central emblematic figure. Less than fifty years after Richardson created Clarissa, the Marquis de Sade wrote his openly pornographic novel Justine; the Misfortunes of Virtue. And here the unremitting succession of physical cruelties and sexual degradations which its author could enjoy imagining being inflicted on his helpless heroine until she finally met a gratuitously violent death was even more obviously beginning to take storytelling in the Western world towards a wholly new phase of its development.
另一个同样由隐藏版本的 Quest 原型塑造的故事是彼得·谢弗 (Peter Shaffer) 的戏剧《莫玛迪斯》( Amadeus)（1979 年，拍摄于 1984 年）。叙述者是十八世纪维也纳作曲家萨列里，他描述了他对同时代、更成功的竞争对手、年轻的莫扎特日益增长的痴迷，莫扎特的音乐如此富有灵感，似乎直接来自上帝。他的痴迷变得如此黑暗，以至于萨列里将摧毁莫扎特视为他一生的最高目标。当他确定目标的那一刻，他从墙上抓起被钉在十字架上的基督的图像，并将其扔进火里。最终，当他成功地让莫扎特早逝时，他达到了他的追求目标。萨列里失去了理智，回忆起了疯人院里的故事。
Another story similarly shaped by a hidden version of the Quest archetype was Peter Shaffer’s play Amadeus (1979, filmed 1984). The narrator, the eighteenth-century Viennese composer Salieri, describes his growing obsession with his contemporary and more successful rival, the young Mozart, whose music is so inspired that it seems to come straight from God. So dark does his obsession become that Salieri conceives it as the supreme purpose of his life to destroy Mozart. At the moment when he settles on his goal, he snatches down from the wall an image of the crucified Christ and hurls it into the fire. Eventually he reaches the goal of his quest when he succeeds in harrying Mozart to an early death. Salieri then loses his reason, and recalls the story in a lunatic asylum.
这个故事的一个令人吃惊的特点，尤其是在电影版本中，是为了确保故事背景的每一个细节在历史上看起来合理而付出的努力与它描绘中心人物莫扎特本人的方式之间的对比。这部电影是在布拉格拍摄的，布拉格是欧洲最未受破坏的巴洛克城市。甚至有人强调，在几个场景中展示的宏伟枝形吊灯正是莫扎特的萨尔茨堡赞助人科洛雷多大主教所拥有的，经过精心修复，并自十八世纪以来首次用数千支蜡烛点亮。然而，在这一切历史真实性的骚乱中，出现了中心人物莫扎特，令人震惊的是，他被表现为一个咯咯笑的、可笑的、思想龌龊的小怪人。在这里，任何对历史准确性的伪装都被抛到了九霄云外。这个奇异的创作与现实生活中复杂且本质上非常严肃的莫扎特没有丝毫相似之处，莫扎特是从他的信件或同时代人的描述中显现出来的。就好像不仅萨列里在着手摧毁莫扎特，而且作者本人也在着手：将作曲家变成这种令人尴尬的嘲讽，以满足他自己心灵中某些模糊的目的。
A startling feature of this story, particularly in its film version, was the contrast between the care lavished to ensure that every detail of its setting might seem historically plausible and the way it portrayed its central character, Mozart himself. The film was shot in Prague, as the most unspoiled baroque city in Europe. It was even emphasised that a magnificent chandelier shown in several scenes was the very one owned by Mozart’s Salzburg patron, the Archbishop Colloredo, lovingly restored and lit with thousands of candles for the first time since the eighteenth century. Yet in the midst of all this riot of historical verisimilitude appeared the central figure, Mozart, shockingly presented as a giggling and ridiculous little dirty-minded grotesque. Here any pretence at historical accuracy was chucked out of the window. This bizarre creation bore not the slightest resemblance to the complex and fundamentally very serious real-life Mozart who emerges from his letters or descriptions by contemporaries. It was as if it was not only Salieri who was setting out on his Quest to destroy Mozart but the author himself: turning the composer into this embarrassing travesty to gratify some obscure purpose of his own psyche.
为了支持这种对事实的歪曲，谢弗引用了莫扎特二十岁出头时写给他表妹的信中的几段略显下流的段落。但是，忽略了我们对这位作曲家的几乎所有了解，这些碎片随后被炸毁以代表整个人。这不可避免地提出了一个问题：为什么？给出的解释是，该剧试图展示艺术家和他的作品如何被视为完全独立的。音乐的高贵与作曲家的卑鄙人格之间没有任何联系。萨列里解释说，他只是一个毫无价值的艺术渠道，而艺术的来源却完全不同。
To support such a distortion of the facts, Shaffer cited a few mildly scatological passages from letters Mozart had written to his girl cousin when in his early twenties. But, ignoring almost everything else we know about the composer, these fragments had then been blown up to represent the whole man. Inevitably this raises the question: why? The explanation offered was that the play was trying to show how an artist and his work can be seen as wholly separate. There was no connection between the nobility of the music and the ignoble personality of its composer. He was merely, Salieri explained, the unworthy channel for art which derived from some quite separate source.
但这很难解释为什么需要以如此违背历史现实的方式贬低莫扎特。这个黑暗的故事是在一个承认莫扎特音乐的神圣完美的时代构思的，但它却与它所代表的基本价值观相去甚远，以至于现在与它们完全不一致，这是否是偶然的呢？只要音乐可以被视为与产生它的文化和价值观完全分离，它仍然可以令人惊叹。但这使得将音乐与最初激发它灵感的一切进行对比变得更加重要。因此，这个故事并没有将人类莫扎特视为一部音乐作品，而音乐是自我价值观历史上最高的表达之一，而是试图将他贬低为婴儿漫画。通过污蔑莫扎特，它无意识地侵犯了自我。这样的，正如萨列里将十字架扔进火里的违逆上帝行为所象征的那样，他的目的是描绘他邪恶地追求摧毁一些有史以来最崇高的自我超越音乐的作曲家：从而产生了一个故事，自己的方式，带着莫比迪克黑暗的回声。
But this hardly explained the need to debase Mozart in a way which so defied historical reality. Was it any accident that this dark story was conceived in an age which, while recognising the divine perfection of Mozart’s music, had nevertheless travelled so far from the fundamental values it represented that it was now totally at odds with them? So long as the music could be treated as quite separate from the culture and the values which had given rise to it, it could still be marvelled at. But this made it all the more important to contrast the music with everything which had originally inspired it. Thus, instead of recognising the human Mozart as all of a piece with music which is one of the supreme expressions in history of the values of the Self, the story sought to degrade him into an infantile caricature. By doing dirt on Mozart, it was unconsciously violating the Self. Such, as was symbolised in Salieri’s God-defying act of hurling the crucifix into the fire, was the purpose of portraying his demonic quest to destroy the composer of some of the most sublimely ego-transcending music ever written: resulting in a story which, in its own way, carried echoes of the darkness of Moby Dick.
现代流行叙事中黑暗探索的三个截然不同的例子是史蒂文·斯皮尔伯格和乔治·卢卡斯的电影《夺宝奇兵》 （1981）、弗雷德里克·福赛思的小说《豺狼之日》（1971）和战后伊林电影喜剧《善良的心》和皇冠（1949）。
Three very different examples of dark quests in modern popular storytelling were the movie Raiders of the Lost Ark (1981) by Steven Spielberg and George Lucas, Frederick Forsyth’s novel The Day of the Jackal (1971) and the post-war Ealing film comedy Kind Hearts and Coronets (1949).
《夺宝奇兵》，以模仿风格为背景1930 年代的版本，充满了时代服装、汽车和飞机，以考古英雄印第安纳·琼斯和敌对的纳粹考古学家团队之间的一场竞赛为中心，寻找失落已久的约柜，这是犹太人最神圣的宝藏，因为它包含了他们与上帝独特接触的历史证据（因此是自我的象征）。在经历了几大洲的冒险之后，琼斯终于发现了隐藏在埃及一个古老的蛇出没的地下密室中的宝藏。但纳粹从他那里偷走了它，并将其带到爱琴海的一个岛屿，在返回德国将其交给希特勒之前，他们打开了神秘的盒子检查里面的东西。因为他们对拥有这种自我形象的追求是由黑暗动机驱动的，打开它的行为释放了黑暗的超自然力量，摧毁了他们。
Raiders of the Lost Ark, set in a pastiche version of the 1930s, full of period clothes, cars and aeroplanes, centres on a race between its archaeologist hero Indiana Jones and a rival team of Nazi archaeologists to find the long-lost Ark of the Covenant, the holiest treasure of the Jewish people because it contained historic evidence of their unique contact with God (and is therefore a symbol of the Self). After adventures set in several continents, Jones finally discovers the treasure hidden in an ancient snake-infested underground chamber in Egypt. But the Nazis steal it from him and take it to an Aegean island where, before returning to Germany to present it to Hitler, they open the mysterious box to check its contents. Because their Quest to possess this image of the Self has been driven by dark motives, the act of opening it unleashes dark supernatural forces which destroy them.
《豺狼之日》讲述了 1963 年一名英国雇佣兵执着追求刺杀法国总统戴高乐的故事。作为一位受人尊敬的统治者和人民之父，戴高乐也是自我的王者象征。故事的大部分内容都是关于这位黑暗英雄如何在一名法国警察的追击下，在阴影中不懈地向他的目标移动，直到他看到总统并准备开致命一枪。千钧一发之际，一直跟踪他的光明英雄冲进房间杀死了他。
The Day of the Jackal features the obsessive quest of an English mercenary to assassinate the French President de Gaulle in 1963. As a revered ruler and father of his people, de Gaulle is also a kingly symbol of the Self. Most of the story is taken up with how the dark hero moves relentlessly through the shadows towards his goal, pursued by a French policeman, until he has the President in his sights and is ready to fire the fatal shot. In the nick of time, the light hero who has been tracking him bursts into the room and kills him.
黑色喜剧《仁慈的心与皇冠》影片以主人公路易斯·马志尼在爱德华七世时代的伦敦的一间牢房里开始，讲述了他在即将被绞死的那个早晨的一生的故事。他描述了他如何在伦敦南部的上流贫困中独自长大，与他的母亲（一位公爵的女儿）一起长大，母亲因与一位意大利歌手私奔而被家人无情地抛弃，这位歌手在他儿子出生时因心脏病去世。她让他知道，他是现任达斯科因家族族长查尔方特公爵的第十二顺位继承人。年轻时的路易斯被“迷人的西比拉”（一个小妖女）拒绝了，而选择了霍兰德先生，她认为霍兰德先生的社会地位更高。当他的母亲在一次事故中丧生时，他受到启发，开始了一项有系统的计划，依次谋杀了阻碍他和公爵领地的达斯科因家族剩余的 12 名成员，这也是他任务的目标，从而向这个家族报仇。当他巧妙地安排了一个又一个死亡时，他同时与西比拉发生了通奸事件，尽管当他接近他的目标时，他也向伊迪丝求婚，伊迪丝是他的受害者之一的高尚的遗孀。西比拉现已破产的丈夫自杀了，西比拉得以自由地与英雄结婚。
The black comedy Kind Hearts and Coronets opens with its hero Louis Mazzini in a condemned cell in Edwardian London, writing out the story of his life on the morning when he is due to be hanged. He describes how he grew up in genteel poverty in South London alone with his mother, a Duke’s daughter, callously thrown out by her family for having eloped with an Italian singer, who had died of a heart attack at his son’s birth. She brings him up to be aware that he is twelfth in line of succession to the current Duke of Chalfont, head of the D’Ascoyne family. As a young man Louis is turned down by ‘the captivating Sibylla’, a little Temptress, in favour of a Mr Holland, whom she thinks socially superior. When his mother is killed in an accident, he is inspired to wreak vengeance on the family by embarking on a systematic plan to murder in turn each of the 12 remaining members of the D’Ascoyne family who stand between him and the dukedom, the goal of his Quest. As he ingeniously arranges one death after another, he meanwhile conducts an adulterous affair with Sibylla, although, as he nears his goal, he also proposes marriage to Edith, the high-minded widow of one of his victims. Sibylla’s now-bankrupt husband then commits suicide, freeing Sibylla to marry the hero herself.
路易通过谋杀公爵来达到他的目标，从而继承了一座伟大的城堡、广阔的庄园和几乎国王般的社会地位（所有实现自我的外在标志），但一切都开始分崩离析。他因谋杀西比拉的丈夫而被捕，这是他没有犯下的一项罪行。由于她的伪证，他的上议院议员认定他有罪，并被判处死刑，尽管伊迪丝嫁给了他以宣称她相信他是无辜的。在他被处决的前一天晚上，西比拉猜出了他罪行的真相，向他发出了最后通牒。如果路易斯承诺谋杀伊迪丝并娶她，她将向当局出示一张证明她丈夫自杀的纸条。“可怜的伊迪丝”他回答道。第二天早上，在紧要关头，他被缓刑了。当他离开监狱时，他看到两个女人分别在一辆单独的马车里等他。当他犹豫该去哪一个时，一名记者问他是否会考虑出版他的回忆录。他惊恐地回忆起自己在牢房里留下了一份有罪文件，其中详细说明了他是如何犯下所有真正的谋杀案的。在这个戏弄的笔记上，这个故事在各个方面仍然悬而未决。路易斯是一个典型的“无法成长的男孩英雄”，被黑暗女性所困，他的 他惊恐地回忆起自己在牢房里留下了一份有罪文件，其中详细说明了他是如何犯下所有真正的谋杀案的。在这个戏弄的笔记上，这个故事在各个方面仍然悬而未决。路易斯是一个典型的“无法成长的男孩英雄”，被黑暗女性所困，他的 他惊恐地回忆起自己在牢房里留下了一份有罪文件，其中详细说明了他是如何犯下所有真正的谋杀案的。在这个戏弄的笔记上，这个故事在各个方面仍然悬而未决。路易斯是一个典型的“无法成长的男孩英雄”，被黑暗女性所困，他的阿尼玛在两个强大的女性之间分裂，她们都曾结婚，因此唤起了“黑暗母亲”。这使他与“父亲”的世界产生了致命的矛盾，而“父亲”的世界现在威胁着他的死亡。
No sooner has Louis reached his goal by murdering the Duke, thus succeeding to a great castle, vast estates and almost kingly social position (all the outward trappings of attaining to the Self), than everything begins to fall apart. He is arrested on the charge of murdering Sibylla’s husband, the one crime he has not committed. Thanks to her perjured evidence, his fellow-members of the House of Lords find him guilty and he is sentenced to death, although Edith marries him to proclaim her faith in his innocence. The night before his execution, Sibylla, who has guessed the truth of his crimes, gives him an ultimatum. She will show the authorities a note proving that her husband committed suicide, if Louis promises to murder Edith and marry her instead. ‘Poor Edith’ he replies. Next morning, in the nick of time, he is reprieved. As he leaves the prison he sees the two women each waiting for him in a separate carriage. As he hesitates over which of them to go to, a reporter asks him whether he would consider publishing his memoirs. With a shock of horror he recalls that he has left behind in his cell the incriminating document in which he has set out precisely how he committed all his genuine murders. On this teasing note, the story remains in every way unresolved. Louis is a classic ‘boy hero who cannot grow up’, trapped by the dark feminine, his anima split between two powerful women, both formerly married and thus evoking the ‘Dark Mother’. This has set him fatally at odds with the world of ‘Father’, which now threatens his death.
《The Quest》：不那么黑暗和伤感的版本
The Quest: The lesser dark and sentimental versions
这类故事的“不太黑暗的版本”的早期例子是最著名的探索之一：以色列的孩子们摆脱埃及的奴役，寻找遥远的应许之地。正如《创世记》中记载的那样，这个故事被无数次重述，成为历史上最鼓舞人心的冒险故事之一，当以色列各部落最终安全抵达“流奶与蜜之地”时，它的结局是奇迹般的幸福。当我们仔细观察这个故事时，事情并不那么简单。从它在犹太基督教传说中的尊贵地位，我们可以想象，当以色列人进入上帝应许的土地时，它空空地躺在那里等待着他们。但是，正如我们从他们的领袖摩西（申命记7），以色列未来的土地已经是许多部落的家园。在演讲的第一部分，摩西回顾了上帝在西奈山颁布的诫命，包括“不可杀人”、“不可偷盗”、“不可贪图邻人的财物”。但他随后戏剧性地改变了策略，告诉他的追随者，当他们到达应许之地时，他们会发现那里到处都是已经居住在那里的部落：他们要杀死他们，偷走他们的货物，并且“毫不怜悯他们”。西奈山上流传下来的那些看似道德绝对的准则其实根本不是绝对的。它们只适用于以色列人自己的“群体”。对于外人来说，则不适用这样的规则。必须绝对无情地对待他们；因为犹太人在他们身上投射了集体利己主义的阴影。
An early example of the ‘lesser dark version’ of this type of story was one of the most celebrated quests of all: that of the children of Israel as they journeyed out of bondage in Egypt to seek the distant promised land. As recorded in Genesis, this tale has been retold times without number as one of the most inspiring adventures in history, with its miraculous happy ending when the tribes of Israel finally arrive safely in the ‘land flowing with milk and honey’. When we look at the story more closely it is not so simple. From its honoured place in Judaeo-Christian legend, we might imagine that when the Israelites enter the land promised by God it is lying there empty and waiting for them. But, as we learn from the final speech made before his death by their leader Moses (Deuteronomy 7), the future land of Israel is already home to many tribes. In the first part of his speech, Moses recalls the commandments handed down by God on Mount Sinai, including ‘thou shalt not kill’, ‘thou shalt not steal’, ‘thou shalt not covet thy neighbour’s goods’. But he then dramatically changes tack, telling his followers that when they arrive in the promised land they will find it full of the tribes who already live there: they are to kill them, steal their goods and ‘show them no mercy’. Those seeming moral absolutes handed down on Sinai are not absolute at all. They apply only within the ‘in group’ of the children of Israel themselves. When it comes to outsiders, no such rules apply. They must be treated absolutely ruthlessly; because on them the Jews have projected the shadow of their own collective egotism.
果然，当他们接近目标时，就像许多其他任务英雄一样，他们面临着一系列巨大的战斗，从围攻耶利哥开始，到“三十一王之战”结束。最后他们确立他们的主权。但这并不是一个完美的幸福结局，正如原型所表明的那样。没有任何迹象表明以色列人会在他们的新王国里永远幸福地生活。他们的整个其余历史将由挑战他们对这片土地占领的其他国家和人民主导，从非利士人开始，到公元二世纪罗马驱逐犹太人结束，这导致了他们的离散，或散布在已知的世界各地。当然，在二十世纪，随着散居海外的犹太人重新占领巴勒斯坦，这个悲惨故事将再次上演。，首先导致与已经居住在那里的巴勒斯坦人的不安共处，最后随着以色列国的建立，导致对他们的强行剥夺和镇压。
Sure enough, when they arrive near their goal, they face, like many another group of Quest heroes, a succession of tremendous battles, beginning with the siege of Jericho and ending in the ‘Battle of the Thirty-One Kings’. At last they establish their sovereignty. But this is no complete happy ending, as the archetype dictates. There is no sign that the children of Israel are going to live happily ever after in their new kingdom. The whole of the rest of their history is to be dominated by other nations and peoples challenging their occupation of that land, beginning with the Philistines and ending with the Roman expulsion of the Jews in the second century AD which was to lead to their diaspora, or scattering, all over the the known world. In the twentieth century, of course, this tragic story was to be acted out all over again, with the reoccupation of Palestine by the Jews of the diaspora, leading first to an uneasy cohabitation with the Palestinians who already lived there and finally, with the setting up of the state of Israel, to their forcible dispossession and suppression.
在最初的故事中，当以色列的孩子们达到他们的目标时，这并不象征着自我价值观的真正胜利，因为他们已经将原型集体投射到外部世界，作为集体自我的表达它必须始终带有它的影子。因此这个故事永远不可能达到一个完整的、最终的幸福结局。那个阴影永远存在，那些被压抑的整体元素会不断地从阴影中浮现出来，困扰着他们：就像二十世纪的情况一样。
When, in the original story, the children of Israel arrived at their goal, this could not symbolise a genuine triumph for the values of the Self, because they had collectively projected the archetype out onto the external world, as an expression of that collective ego which must always carry its shadow. Thus the story could never reach a complete and final happy ending. There would always remain that shadow, from which those elements of the whole which had been repressed would continually emerge to haunt them: exactly as was again to be the case in the twentieth century.
在乔治·奥威尔的小说《Coming Up For Air》（1939）中可以看到一个更为国内的将探索原型投射到外部世界的例子。主人公乔治·鲍林感到自己陷入了中年，无爱的婚姻，保险公司的单调工作，伦敦郊区的一所小房子，以及变得完全毫无意义的生活。他可能会说，就像《神曲》开头的但丁一样，“在人生的旅途中，我来到了一个迷失方向的地方”；就像但丁一样，他开始了通往天堂的探索。但在“胖子”鲍林精神萎缩的世界里，他所寻求的天堂却是他在乡村小镇度过的童年的遥远记忆。当他还是一个痴迷于钓鱼的小男孩时，有一次，他独自一人穿过镇外一座大房子的一片黑暗树林，在那里他发现了一个秘密的、深邃的、黑暗的水池，周围环绕着树木。其深处闪烁着巨大的古老金鲤，这是他见过的最大的鱼。现在，半生过去了，他决定摆脱空虚生活中的所有压迫，开始一项任务，回到童年的世界，在神秘的池塘里钓鱼那些神秘的鲤鱼。这是自我象征意义的经典外在投射。
A much more domestic example of projecting the Quest archetype out onto the external world can be seen in George Orwell’s novel Coming Up For Air (1939). The hero, George Bowling, feels himself trapped in middle age, a loveless marriage, a humdrum job with an insurance firm, a little house in an anonymous London suburb and a life which has become wholly meaningless. He might say, like Dante at the beginning of The Divine Comedy, ‘midway on the journey of this life, I came to a place where the way was lost’; and like Dante he sets out on a quest to reach paradise. Except that in ‘Fatty’ Bowling’s spiritually shrunken world, the heaven he seeks is a distant memory from his childhood in a small country town. As a small boy obsessed with fishing, he had once, all alone, penetrated a dark wood in the grounds of a large house outside the town, where he had come across a secret, deep, dark pool, surrounded by trees. Gleaming in its depths were huge, ancient golden carp, the biggest fish he had ever seen. Now, half a lifetime later, he decides he will escape all the oppressions of his empty life by setting out on a Quest, back to the world of his childhood, to fish for those numinous carp in their mysterious pool. It is a classic external projection of the symbolism of the Self.
乔治前往小镇，他发现这座小镇因现代发展而几乎变得面目全非。他童年记忆中的周围田野已经消失在一排排一模一样的小房子和工厂下面。他童年的家现在变成了一家不受欢迎的茶馆。他瞥见了他年轻时爱过的漂亮女孩，他失去的灵魂，现在变成了一个不成形的女巫。他终于到达了乡间别墅，现在是疯人院，然后穿过树林，接近他的最终目标。但突然他出现在一个住宅区。大部分木材已被砍伐。当他询问秘密水池的情况时，一位居民告诉他，他一定想到了那边的那个洞，那里早已没有水或鱼了，里面装满了锡罐和二十世纪文明的所有垃圾。他有寻找自我的外在象征，却发现它是一个空洞，里面塞满了人类自私的碎片。他回到家，面对他喋喋不休的妻子，他感到沮丧和沮丧。
George journeys to the town, which he finds swollen almost out of recognition by modern development. The surrounding fields he remembered from his boyhood have disappeared under rows of identical little houses and factories. His childhood home is now an unwelcoming tea shop. He glimpses the pretty girl he had loved in his youth, his lost anima, now aged into a shapeless hag. He finally reaches the country house, now a lunatic asylum, and walks on through the trees, nearing his ultimate goal. But suddenly he emerges into a housing estate. Much of the wood has been felled. When he asks after the secret pool, he is told by a resident he must be thinking of that hole over there which, long since emptied of water or fish, is filled with tin cans and all the rubbish of twentieth century civilisation. He has sought the outward symbol of the Self, only to find it an empty hole, crammed with the detritus of human egotism. He returns home to his nagging wife, defeated and broken.
二十世纪穿越英国乡村的破坏性前进也像阴影一样笼罩在最近最令人难忘和最成功的探索故事之一《沃特希普坠落》的上方。（1972）。从表面上看，这部现代史诗几乎是对探索原型的完美再现，因为它的英雄们踏上了漫长危险的旅程，达到了他们的目标，与他们的“公主”结婚，并看到他们的“王国”的生存得到了保障。未来。这本书最吸引人的品质之一是它将一片熟悉的、过于驯化的家乡乡村变成了一个广阔的、看似神秘的领域，与许多旧的探索之旅中熟悉的狂野、神秘的地形相媲美。需要想象力的壮举才能将当代英格兰乡村的肉鸡养殖场、铁丝网和高速公路带回浪漫和冒险的仙境；创造了自托尔金想象的想象世界以来最成功的伪神话景观。
The destructive onward march of the twentieth century across the English countryside also hangs like a dark shadow over one of the most haunting and successful of recent Quest stories, Watership Down (1972). On the face of it, this modern epic is an almost perfect recreation of the Quest archetype, as its heroes set out on their long hazardous journey, reach their goal, marry their ‘Princesses’ and see the survival of their ‘kingdom’ secured for the future. One of the book’s most appealing qualities is the way it transforms a stretch of familiar, all-too domesticated Home Counties countryside into a vast, seemingly mythic realm, comparable with that wild, mysterious terrain familiar from many an older Quest journey. It takes a feat of imagination to translate contemporary rural England, with its broiler farms, barbed wire fences and motorways, back into such a faery-realm of romance and high adventure; creating the most successful pseudo-mythic landscape since the imaginary world conjured up by Tolkien.
但它只能通过把英雄变成小兔子来做到这一点，而它们最大的敌人，包括汽车、枪支和陷阱，就是人类本身。兔子们必须出发去寻找的真正原因是，他们居住的沃伦即将被毒气和推土机夷为平地，为另一个人类住宅区让路。正是因为英雄是动物而不是人，所以他们才能被赋予纯粹的人性品质。在詹姆斯·邦德、星球大战和大多数现代冒险故事中，以太空火箭、飞机、跑车和电子产品为背景的现代史诗英雄几乎被非人化了，被他的技术变成了一个机器人。与Watership Down的兔子们一起，我们坚定地回到了前机械世界，黑兹尔和他的朋友们只能通过直接运用人类与生俱来的基本品质才能生存。但事实是，根据探索的古老模式，作者实际上必须完全逃离我们现代技术塑造的世界，才能创造出这样一个人类故事，这充分说明了这本书的基本信息。它试图在一个世界中保留原型的本质，在这个世界中，从人类的角度来看，它暗示着人类无情的集体利己主义使这一切几乎不可能。尽管这个故事有很多优点，但它不过是一个逃避现实、相当忧郁的梦。
But it could only do this by turning its heroes into little rabbits, whose worst enemies, with their cars, guns and traps, are the human race itself. The very reason the rabbits must set out on their Quest is that the warren where they live is about to be gassed and bulldozed, to make way for yet another human housing estate. And it is precisely because the heroes are animals and not human beings that they can be invested with purely human qualities. With James Bond, Star Wars and most latter-day adventure stories, set in a prison of space rockets, aeroplanes, fast cars and electronics, the modern epic hero has been all but dehumanised, turned by his technology into little more than an automaton. With the rabbits of Watership Down, we are firmly back in a pre-mechanical world, where Hazel and his friends can only survive by their direct exercise of primary, innate human qualities. But the very fact that, to conjure up such a human story, according to the age-old pattern of the Quest, the author had in effect to escape from our modern technologically-shaped world altogether, says much about the underlying message of the book. It was trying to preserve the essence of the archetype in a world where in human terms, it was implied, humanity’s remorseless collective egotism had rendered this all but impossible. For all its virtues, the story was little more than an escapist and rather melancholy dream.
这种原型的力量如此之大，以至于它从未停止过对现代故事讲述者的想象力的控制。尽管它通常被轻视到远离其最初的根本目的的程度。典型的 20 世纪 60 年代中期电影《这是一个疯狂、疯狂、疯狂、疯狂的世界》（1964）就是这样一个故事的一个很好的例子，既黑暗又感伤。加利福尼亚州的一群驾车者被一辆在山路上鲁莽行驶的汽车追上了。车子从边缘坠落，他们到达了垂死的司机身边，他是一名职业罪犯，正好听到他透露埋在 200 英里外的一批非法资金的下落。他们立刻对金钱充满了贪婪，在无法找到任何合作方式后，他们全都在致命的竞争中加速前进，看看谁能先到达宝藏。不知不觉中，他们的任务被观察了当地警察局长库尔佩珀上尉（斯宾塞·屈塞饰）长期以来一直在追踪死去的罪犯，甚至追踪他的更多非法所得。尽管旅途中遇到了各种各样的障碍，但所有各方都同时到达了目标，还有一些在途中听到故事的人。他们刚挖出宝藏，还在争论如何分配宝藏，库尔佩珀就以持有赃款为由逮捕了他们所有人。然后他欺骗他们朝一个方向开走，而他则带着“证据”消失在另一个方向。意识到自己被骗了，他们转身追捕他，这与故事的前半部分完全相反，他和他的手下一直在追捕他们。他们最终把他困在一座高楼的防火梯上，而一大群人聚集在下面观看这出戏。当追赶者追上他时，装满美元钞票的手提箱突然打开，所有的钱都倾泻到下面的人群中。参与这次任务的每个人，包括警察，都完全是出于贪婪。他们现在都因为以自我为中心而付出了代价，因为他们一直在寻找的宝藏实际上消散在空气中。
Such is the power of this archetype that it has never ceased to exercise its hold over the imagination of modern storytellers; although usually it has been trivialised on a level far removed from its original underlying purpose. That typically mid-1960s film It’s a Mad, Mad, Mad, Mad World (1964) was a good example of such a tale, both dark and sentimental at the same time. A group of motorists in California are overtaken by a car being driving recklessly along a mountain road. It crashes over the edge and they reach the dying driver, a professional criminal, just in time to hear him reveal the whereabouts of a hoard of illicit money buried 200 miles away. At once they are all fired with greed for the money and, after failing to work out any way they can co-operate, they all speed off in deadly rivalry to see who can reach the treasure first. Unwittingly, their Quest is being observed by a local police chief, Captain Culpeper (Spencer Tracy), who has long been on the trail of the dead criminal and even more of his illicit gains. Despite running into every kind of obstacle on their journey, all parties arrive at the goal simultaneously, plus a few more who have heard the story on the way. No sooner have they dug up the treasure, still arguing to the last on how it should be divided, than Culpeper arrests them all for being in possession of stolen money. He then tricks them into driving away in one direction, while he disappears in the other with the ‘evidence’. Realising they have been duped, they turn round and pursue him, in an exact reversal of the earlier part of the story where he and his men had been pursuing them. They finally trap him on the fire escape of a tall building, while a vast crowd gathers below to watch the drama. As the pursuers catch up with him, the suitcase full of dollar bills bursts open and all the money showers down to the crowd below. Everyone involved in the Quest, including the policeman, has been motivated entirely by greed. They are now all paid out for their egocentricity, as the treasure they have been seeking literally dissipates into thin air.
更传统的感伤探索故事包括我们之前看过的几个例子，在每一个例子中，因为它们只是原型的外部投射，我们发现故事的正确结构有些歪斜。史蒂文森的《金银岛》就是一个例子，当英雄们最终到达他们走遍世界寻找的埋藏宝藏的地点时，他们发现宝藏已经消失了。洞是空的。宝藏已经被本·古恩（Ben Gunn）挖掘出来，他是一个“自然人”，像鲁滨逊漂流记一样，已经成为岛上的“国王”；不过，作为对他们营救他的奖励，他将钱分给了他们。
More conventionally sentimental Quest stories include several examples we looked at earlier where, in each case, because they are simply external projections of the archetype, we find that something has gone askew with the story’s proper structure. One instance is Stevenson’s Treasure Island where, when the heroes finally reach the site of the buried treasure they have travelled across the world to find, they discover it is gone. The hole is empty. The treasure has already been dug up by Ben Gunn, the ‘natural man’ who, like Robinson Crusoe, has become ‘king’ of the island; although, as reward for their rescuing him, he shares it out among them.
在凡尔纳的《八十天环游世界》中，主人公菲尼亚斯·福格实际上在中途解放了“公主”，他的阿尼玛形象，完全错过了原型点；尽管只有到了最后，当他最终达到了他的目标时，他才真正与她结合在一起。在莱德·哈格德的《所罗门王的矿井》中，虽然它如此有力地运用了原型意象，但结局的瓦解性质暴露了故事在多大程度上只是在玩弄原型。黑人（因此，用故事术语来说，“低等”）英雄乌姆波帕（Umbopa）留下来，继承了他的“王国”；而三位白人英雄带着他们的黄金和珠宝回家，这只是物质财富，没有什么意义。
In Verne’s Around the World in Eighty Days, the hero Phineas Fogg actually liberates the ‘Princess’, his anima-figure, half way through the journey, completely missing the archetypal point; although only at the end, when he has finally reached his goal, is he properly united with her. In Rider Haggard’s King Solomon’s Mines, although it makes such powerful use of archetypal imagery, the disintegrated nature of the ending betrays the extent to which the story is just playing with the archetypes. The black (therefore, in story terms, ‘inferior’) hero, Umbopa, remains behind, having succeeded to his ‘kingdom’; while the three white heroes return home with their haul of gold and jewels, which is only a mere material treasure, nothing more profound.
在巴巴尔和圣诞老人中故事中，英雄巴巴尔找到了圣诞老人并将他带回非洲，成功实现了他的任务目标。但这里的原型都变得混乱了，因为巴巴尔已经是他人民的国王和父亲，所以他很难继承王国作为成功完成他的任务的奖励。事实上，圣诞老人只是为这个等式提供了一个额外的仁慈的父亲形象，尽管他随后再次消失，同时承诺会回来。这个故事如此轻微而迷人，以至于对它未能完全符合原型而争论可能会显得无礼。但事实仍然是，如果没有这种潜在的原型，这个故事就不会像它那样引起孩子们的共鸣。从这个意义上说，它只是一个故事的感伤版本，在其适当的角色中，
In Babar and Father Christmas, the hero Babar successfully reaches the goal of his Quest by finding Father Christmas and bringing him back to Africa. But here the archetypes all get muddled up, because Babar is already the King and father of his people, so he can hardly succeed to the kingdom as reward for successfully concluding his Quest. Indeed, Father Christmas merely supplies an additional kindly father-figure to the equation, although he then disappears again, while promising to return. So slight and charming is this tale that it might seem churlish to quibble about its failure to match up precisely to the archetype. But the fact remains that, without that underlying archetype, the story would not strike the responsive chord in children that it does. In this sense it is only the sentimentalised version of a story which, in its proper role, serves a much more serious function in the human imagination altogether.
航行与归来：黑暗版
Voyage and Return: The dark version
根据其完整的原型，《远航与回归》的故事始于一个不完整或不充分的男女主人公从他们最初的有限意识状态中被带出，并陷入一个陌生的领域，这个领域代表着一个他们以前不知道的世界。正是通过这种与“无意识元素”的对抗，就像《鲁宾逊漂流记》或《金驴》中的卢修斯一样，他们学会了使自己完整所必需的东西。他们最终回归正常世界，内心发生转变，标志着故事的幸福结局。
According to its full archetype, the Voyage and Return story begins with an incomplete or inadequate hero or heroine being taken out of their original state of limited consciousness and plunged into an unfamiliar realm representing a world of which they were previously unaware. It is through this confrontation with ‘unconscious elements’ that, like Robinson Crusoe or Lucius in The Golden Ass, they learn that which is necessary to make them whole. Their final return to the normal world, inwardly transformed, marks the happy ending of the story.
正如我们所看到的，这种模式最黑暗的版本是在那些罕见的故事中，英雄进入异常世界并被困住，再也没有回来。卡夫卡的审判（1920）以主人公约瑟夫·K. 发现“一个美好的早晨”，“他没有做任何错事”而被捕。他立即陷入了一个神秘的世界，在那里他知道自己正在因一些隐秘而严重的犯罪而受到调查，但从未被告知具体是什么。从表面上看，在意识层面上，他试图继续过着作为银行高级经理的正常生活。但他始终意识到，在这个神秘的无意识层面上，神秘“法庭”的调查仍在继续，越来越多的他认识或遇到的人与此有某种联系。尽管有许多明知的暗示和影射，但没有人会直接告诉他发生了什么事。即使当他拜访一位卧床不起的律师（本应成为他的案件“辩护人”）时，也没有得到适当的解释。但这里 K. 他与暮色世界中遇到的任何人进行了唯一的直接接触，那就是年轻的女仆莱妮，她亲吻、抚摸并声称爱他；尽管他后来被告知她爱上了任何拜访她雇主的被告男子。最后，在大教堂与一位牧师面谈后，K. 仍然不知道自己被指控什么，并接到了两名男子的拜访，他们将他带到乡村，拿出一把屠刀刺伤了他，“就像一个屠夫”。狗”，通过心脏。
The most completely dark version of this pattern, as we saw, is in those rare stories where the hero enters the abnormal world and remains trapped, never returning. Kafka’s The Trial (1920) begins with its hero Joseph K. finding ‘one fine morning’ that ‘without having done anything wrong’, he has been arrested. He is at once plunged into a mysterious world where he knows he is under investigation for some shadowy and serious crime but is never told what it is. Outwardly, on the conscious level, he tries to continue living his normal life, as senior manager in a bank. But all the time he is aware that, on this mysterious unconscious level, the investigation by the mysterious ‘Court’ is continuing and that more and more people he knows or meets are somehow connected to it. Despite many knowing hints and innuendos, no one will tell him directly what is going on. Even when he visits an old bedridden lawyer who is meant to be his ‘Advocate’ in the case, nothing is ever properly explained. But here K. makes his only direct contact with anyone he encounters in the twilight world, the young maid Leni, who kisses, fondles and claims to love him; although he is later told she falls in love with any accused man who visits her employer. Finally, after an interview with a priest in a cathedral, still without any idea of what he is accused, K. receives a visit from two men who lead him out into the countryside, take out a butcher’s knife and stab him, ‘like a dog’, through the heart.
这个故事激发了人们的想象力，甚至在那些从未读过他的书的人中也流行了“卡夫卡式”这个词，它让人联想到一个人在一个完全令人困惑的世界中感到完全孤独，他感到越来越多的威胁内疚，同时从未获得足够的信息来了解他身上发生了什么。从这个意义上说，K.就像其他《航行与回归》故事中的中心人物，例如《爱丽丝梦游仙境》（她最终也被神秘地接受审判并被判有罪）。许多《远航与归来》故事中类似的回声是令人难以忘怀的莱妮（Leni）的存在，她是难以捉摸的阿尼玛，作为无意识世界中唯一可以与英雄产生联系的角色。但是，与其他故事不同的是，K. 注定永远无法逃离他的影子世界，最终在不知道原因的情况下过早死亡。
What has caught people’s imagination about this story, popularising the term ‘Kafka-esque’ even among those who have never read his books, is the sense it conjures up of someone feeling totally alone in a wholly baffling world, where he feels increasingly threatened by guilt while never being given enough information to understand what is happening to him. In this sense K. is like the central figure of other Voyage and Return stories, such as Alice in Wonderland (who also ends up being mysteriously put on trial and found guilty). A similar echo of many Voyage and Return stories is the haunting presence of Leni, the elusive anima, as the only character in the unconscious world to whom the hero can relate. But, unlike these other stories, K. is doomed never to escape from his shadow world and ends up dying a premature death without ever knowing why.
在这方面，卡夫卡在消费的早期阶段写下他的故事可能并非无关紧要，四年后，消费最终杀死了他。在某种程度上，在这幅画中，一个人受到一种阴暗的、无情的过程的威胁，最终导致他无缘无故地死亡，我们可以看到一种已经控制了他的阴暗的、致命的疾病的化身。有一段时间，卡夫卡对自己的身体产生了一种特殊的恐惧，这可能是他的身体更加黑暗的原因。他的短篇小说《变形记》中所传达的“不归路”的版本。故事开始于主人公格雷戈尔，一天早上醒来，发现自己变成了一只可怕的、令人厌恶的昆虫。由于他的父母和妹妹完全依靠他勤劳的商业旅行者的收入，他们无法理解为什么他没有起床去工作，并留在房间的锁着的门后面。最终门被打开了，每个人都惊恐地看到发生了什么事。起初，只有他的妹妹，他的阿尼玛形象，是有同情心的。但几周过去了，他仍然陷在令人厌恶的状态中，就连她也像其他人一样反对他，直到他最终饿死。
In this respect it may not be irrelevant that Kafka wrote his story during the early stages of the consumption which, four years later, was to kill him. On one level, in this picture of a man threatened by a shadowy, inexorable process which ends in his death without apparent reason, we may see a personification of the shadowy, fatal disease which already had him in its grip. For a time Kafka had a peculiar horror of his physical body, which may account for the even darker version of a Voyage without Return conveyed in his short story Metamorphosis. This begins with the hero, Gregor, waking up one morning to find he has turned into a monstrous, repulsive insect. Since his parents and young sister wholly depend on his earnings as a hard-working commercial traveller, they cannot understand why he has not got up for work, and remains behind the locked door of his room. Eventually the door is opened, and everyone sees with horror what has happened. At first, only his sister, his anima-figure, is at all sympathetic. But as weeks go by and he remains trapped in his disgusting state, even she, like everyone else, turns against him, until he finally starves to death.
从这些噩梦般的景象来看，这似乎与 JD 塞林格的《麦田里的守望者》这本在 20 世纪 50 年代和 1960 年代的学生中享有盛誉的小说相去甚远。（1951）。主人公霍尔顿·考尔菲尔德 (Holden Caulfield) 十几岁的时候，在工作和人际关系搞得一团糟后，被另一所聪明的东海岸预科学校送回家，这是他第四次被开除，他陷入了另一个世界。他不敢告诉父母发生了什么事，他前往纽约，在这座城市中漂泊，遇到了一系列陌生人，就像他与一名年轻妓女短暂的尴尬遭遇一样，并且拼命地试图安排与他遇到的各个女孩的约会。从学校假期就知道了。霍尔顿的冒险与约瑟夫·K.的世界之间出现的相似之处是，他从未与他遇到的任何人进行真正的接触：酒吧里那些头脑空空的女孩；两个热心的修女；悲伤的小妓女；势利的莎莉·海耶斯，他带她去看百老汇戏剧。就像一个精神病患者一样，他经常被分为两种：他蔑视世界上几乎所有其他人，认为他们是令人恼火、尴尬、愚蠢的“骗子”；然后，仿佛想弥补这一点，想要夸张地表达他到底有多喜欢他们或想念他们。在他的傲慢、自大、轻蔑之下霍尔顿变得越来越迷失和绝望，直到世界上他想见到的唯一两个人是他的妹妹菲比（她和父母住在一套漂亮的高层公寓里）和安托里尼先生，他唯一的老师曾经受到尊重。当他接近绳索的尽头时，它隐约唤起伟大的原型二元性：智者老人和阿尼玛。深夜，他拜访了安托里尼，安托里尼欢迎他进来，并在给了他明智的父亲建议后，让他上床睡觉。但霍尔顿随后醒来，发现安托里尼以一种色情的方式抚摸着他的头，他惊恐地逃跑了。第二天，他遇到了年轻的菲比，她现在是他在世界上唯一爱和信任的人，他的婴儿阿尼玛闲逛之后，他们在一个游乐场结束，在雨中，他看着她在老式旋转木马上转了一圈又一圈：
From these nightmarish visions, it may seem a far cry to that novel which enjoyed such cult status among students in the 1950s and 1960s, J. D. Salinger’s Catcher in the Rye (1951). The hero Holden Caulfield, in his late teens, is plunged into his other world when, after making a complete mess of his work and human relationships, he is sent home from from yet another smart, East Coast prep school, his fourth expulsion. Not daring to tell his parents what has happened, he heads for New York where he drifts through the city, meeting a succession of strangers, as in his brief embarrassing encounter with a young prostitute, and rather desperately trying to arrange dates with various girls he knows from school holidays. A parallel which emerges between Holden’s adventures and the world of Joseph K. is that he never makes real contact with any of the people he meets: the empty-headed girls in a bar; two earnest nuns; the sad little hooker; snobbish Sally Hayes, whom he takes to a Broadway play. Like a psychotic, he is constantly divided between his contempt for almost everyone else in the world as irritating, embarrassing, stupid ‘phoneys’; and then, as if trying to make up for it, wanting to throw in an extravagant reference to how much he likes them or misses them after all. Beneath his brash, cocky, dismissive persona, Holden becomes increasingly lost and desperate, until the only two people in the world he wants to see are his younger sister Phoebe, who lives with their parents in a smart, high-rise apartment, and Mr Antolini, the only teacher he has ever respected. As he nears the end of his tether, it is a faint evocation of that great archetypal duality, the Wise Old Man and the Anima. Late at night he calls on Antolini, who welcomes him in and, after giving him sage fatherly advice, puts him to bed. But Holden then wakes up to find Antolini stroking his head in an erotic fashion and flees in shocked horror. The next day, he meets young Phoebe, now the only person he loves and trusts in the world, his infantile anima, and after wandering about, they end at a funfair where, in the rain, he watches her going round and round on an old-fashioned carousel:
“如果你想知道真相的话，我感到非常高兴。我不知道为什么，但她看起来非常漂亮，穿着蓝色外套，不停地转来转去。天哪，我希望你也能在那儿。
‘I felt so damn happy, if you want to know the truth. I don’t know why but she looked so damn nice, the way she kept going round and round, in her blue coat and all. God, I wish you could’ve been there.’
这是一个令人毛骨悚然的最终图像：阿尼玛不是中心固定的光点，而是在无尽的神经质运动中旋转。从几个月后在一家精神病院发表的简短尾声来看，我们推测霍尔顿当时经历了长期的精神崩溃。从他被驱逐出境的那一刻起“另一个世界”他再也没有恢复正常。也许，就像小说中隐居的作者一样，他在又写了两本书后，将自己与世隔绝数十年，没有再写出另一本书，他永远不会这样做。
It is a chilling final image: the anima, instead of being a central fixed point of light, just revolving in endless neurotic motion. From the brief epilogue, addressed from a psychiatric hospital a few months later, we gather Holden then had a prolonged nervous breakdown. From the moment of his expulsion into the ‘other world’ he had never managed to return to normality. Perhaps, like the novel’s reclusive author who, after writing two more books, shut himself away from the world for decades without producing another, he never would.
作为这个序列中的最后一个例子，我们来看看伊芙琳·沃在中年时创作的那个奇怪的小故事，《吉尔伯特·平福德的磨难》（1957）。我们之前看到沃如何特别被航行和返回情节所吸引。在外界看来，作为一个从原来的中产阶级郊区背景逃到英国上层社会世界边缘的小说家，最明显的特征之一就是他将个人的不安全感隐藏在盔甲后面——电镀人物是出于势利和多愁善感的罗马天主教而编造的，再加上对任何在社会上不符合他非常有限的世界观的人的脾气暴躁的不耐烦。人格面具的问题在于，它只是一个外在的面具：在它的压抑背后，它的主人的真实个性变得越来越迷失。在沃的例子中，这无意识地反映在《衰亡》和《故园重访》的方式上表现了一个相当有限的中产阶级小英雄发现自己陷入了一个迷人的上流社会“另一个世界”，在这个世界中他从未完全放松或自在，并且最终被拒绝，悲伤和孤独。但沃的故事中没有一个比吉尔伯特·平福德的故事更直接地自我揭示：正如其作者在写作时一样，沃的故事被描绘成一位成功的小说家，具有社会自负，但在五十出头时，突然发现自己的生活空虚、令人窒息且毫无意义。 。
For a final example in this sequence we look at that curious little story produced by Evelyn Waugh in his middle age, The Ordeal of Gilbert Pinfold (1957). We saw earlier how Waugh was particularly drawn to the Voyage and Return plot. To the outside world, one of the novelist’s more obvious characteristics, as someone who had escaped from his original middle-class suburban background onto the fringes of the world of the English upper classes, was the way he hid his personal insecurities behind an armour-plated persona, fabricated out of snobbery and a sentimentalised Roman Catholicism, combined with cantankerous impatience towards anyone who did not fit socially into his very limited world-view. The trouble with the persona is that it is only an outward mask: suppressed behind it, its owner’s true personality becomes increasingly lost. In Waugh’s case this was unconsciously reflected in the way both Decline and Fall and Brideshead Revisited showed a rather limited little middle-class hero finding himself drawn into a glamorous, upper-class ‘other world’ in which he is never wholly at ease or at home, and from which he is eventually rejected, sad and alone. But none of Waugh’s stories was more directly self-revelatory than that of Gilbert Pinfold: portrayed as, like its author when he wrote it, a successful novelist with social pretensions who, in his early fifties, suddenly finds his life empty, suffocating and meaningless.
平福德决定乘船前往锡兰，但他刚登上好船卡利班（回响“影子”），然后他听到几乎连续不断的喋喋不休的声音，令人恼火的舞曲和声音，他认为这些一定是从船上的某些内部通信系统中出现的。当他辨认出这些声音时，他们所说的话似乎越来越以指责的方式针对他个人。他们的大部分辱骂都是粗鲁的、相当幼稚的，反映了受过公立学校教育的英国中上层阶级的精神，指责他是犹太人、敌对特工、同性恋者、酒鬼。但他如此确信自己的偏执妄想的真实性，以至于他无法与其他乘客或机组人员建立理性的联系，尽管他们一开始很有礼貌，但最终却把他视为一个可悲的怪人而避开他。最终，一个声音从胡言乱语中脱颖而出，是一位名叫玛格丽特的年轻女子的声音，平福德想象他正在与他建立某种关系。他还得知她被称为“天使小姐”。她声称爱他，在一个特别尴尬的场景中，他们同意午夜约会，她将来到他的小屋做爱。但当然难以捉摸阿尼玛从未出现，最终平福德弃船返回伦敦一家酒店与妻子见面，但在那里，声音终于离开了他。他最后听到的是阿尼玛，安吉尔小姐的声音，重复着“我确实爱你，吉尔伯特”。我不存在，但我确实爱……再见……爱……”。然后他独自和他的妻子在一起。他完成了他的航行和回归，回来时却一无所知。
Pinfold decides to take a cruise to Ceylon, but no sooner has he boarded the good ship Caliban (echoing ‘the shadow’) than he hears an almost continuous babble of sounds, irritating dance music and voices, which he imagines must be emerging from some shipboard internal communication system. As he identifies the voices, what they are saying seems more and more to be directed at him personally, in an accusatory fashion. Much of their abuse is on a crude, rather babyish level, reflecting the ethos of the public school-educated English upper-middle class, accusing him of being a Jew, an enemy agent, a homosexual, a drunk. But he is so convinced of the reality of his paranoid delusions that they make it impossible for him to relate rationally to his fellow-passengers or the crew who, although initially polite, eventually shun him as a sad eccentric. Eventually one voice stands out from the babble, that of a young woman called Margaret, with whom Pinfold imagines he is establishing a kind of relationship. He also learns she is called ‘Miss Angel’. She claims to love him, and in a particularly embarrassing scene they agree a midnight assignation, whereby she will come to his cabin to make love. But of course the elusive anima never appears, and eventually Pinfold abandons the ship and makes his way back to meet his wife in a London hotel, where the voices finally leave him. The last he hears is that of the anima, Miss Angel, repeating ‘I do love you Gilbert. I don’t exist but I do love ... Good-bye ... love ...’. He is then alone with his wife. He has made his Voyage and Return and comes back having understood nothing.
所有这些黑暗航行和回归的例子都有三个特别的特征。在每一个例子中，他们的英雄约瑟夫·K.、格雷戈尔、霍尔顿·考尔菲尔德和平福德几乎都是完全以自我为中心的，陷入了自己有限的意识和缺乏之中。对他人的感觉。在每种情况下，当面对“另一个世界”的挑战时，这只会加剧他的孤立，因为他无法与在那里遇到的任何人进行适当的沟通或建立关系。但在每一种情况下，唯一的例外是代表女性的女孩：莱尼，格雷戈尔的妹妹，考尔菲尔德的妹妹，平福德的天使小姐，她诱惑英雄作为他难以捉摸的阿尼玛，恰恰代表了他生命中缺失的核心价值：联系感；对内在女性能量的感受和理解，只要他能正确地接触它，就可能使他成为一个完整的男人。但事实并非如此。英雄仍然被困在他自负的监狱里。无论他是否像卡夫卡笔下的英雄一样永远被困在另一个世界，或者至少表面上似乎回到了他开始的地方，就像平福德一样，他失败了挑战。他被冻结在发育停滞的状态，无法成长。
Three features in particular characterise all these examples of the dark Voyage and Return. In each case their hero, Joseph K., Gregor, Holden Caulfield and Pinfold, is almost wholly egocentric, trapped in his own limited awareness and lack of feeling for other people. In each case, when confronted by the challenge of the ‘other world’, this only heightens his isolation, in that he cannot properly communicate or establish a relationship with any of the people he meets there. But in each case, the one exception is the girl who represents the feminine: Leni, Gregor’s sister, Caulfield’s sister, Pinfold’s Miss Angel, She tantalises the hero as his elusive anima, representing precisely that central value which is missing in his life: the sense of connection; the feeling and understanding of the inner feminine which, if only he could get properly in touch with it, might enable him to become a full man. But this cannot be. The hero remains trapped in his egotistical prison. Whether he stays trapped forever in his other world, like Kafka’s heroes, or at least outwardly seems to return to where he started, like Pinfold, he has failed the challenge. Frozen in a state of arrested development, he is unable to grow up.
从这个意义上说，这些故事是我们之前看到的所有版本的航行和返回情节的典型，其中男女主人公从另一个世界出现的情况基本没有变化。在一些感伤的版本中，比如《爱丽丝梦游仙境》或《绿野仙踪》，这种经历就像一些奇怪的梦。这并没有影响他们的生活；他们可以继续下去，就好像这件事从未发生过一样。在其他例子中，不太黑暗的版本，如《Le Grand Meaulnes》、《乱世佳人》、《故园风雨后》男女主人公失去了在异世界遇到的“另一半”，面临着“无儿无女、孤独无依”的余生。这个原型的全部目的是向我们展示一个孤独的个体面临着终极挑战。面对象征着自我意识局限性的未知世界，他们是否准备好像卢修斯一样，经历巨大的转变，最终使他们能够与自己的阿尼玛和整个世界合一地实现自我实现？如果没有，他们就没有通过测试，并且必须永远被困在自我中。
In this sense, these stories are typical of all those versions of the Voyage and Return plot we saw earlier, where the hero or heroine emerges from the other world basically unchanged. In some, the sentimental versions, like Alice in Wonderland or The Wizard of Oz, the experience has been just like some strange dream. It has not touched their lives; they can carry on as if it never happened. In other examples, the lesser dark versions, like Le Grand Meaulnes, Gone with the Wind, Brideshead Revisited, the hero or heroine lose the ‘other half’ they have encountered in the other world, and face the rest of their life ‘childless, loveless and alone’. The whole purpose of this archetype is to show us a solitary individual being faced with the ultimate challenge. Confronted with the unknown world which symbolises the limitation of their ego-consciousness, are they ready, like Lucius, to go through that colossal transformation which will eventually enable them to reach Self-realisation, at one with their anima and with all the world? If not, they have failed the test and must remain trapped in the ego forever.
喜剧：黑暗和感伤的版本
Comedy: The dark and sentimental versions
当自我接管喜剧原型时会发生什么？这种最轻松的情节的真正黑暗版本可能看起来很矛盾。事实上，过去 200 年来，此类故事在讲故事的发展中所发挥的作用比人们想象的要重要得多。之所以没有得到普遍重视的唯一原因是，当喜剧变得真正黑暗时，我们不再认为它是喜剧。我们之前已经看到《奥赛罗》是一部戏剧，它在情节上展示了喜剧的许多要素。尽管当没有“认可”时，英雄最终会窒息他的阿尼玛并把匕首转向自己，这可以说是莎士比亚写过的最黑暗的戏剧。出于类似的原因，我们不会在下一章之前讨论喜剧当天黑时会发生什么的一些最著名的例子。
What happens when the ego takes over the archetype of Comedy? A truly dark version of this lightest of plots might seem a contradiction in terms. In fact such stories have played a much more important role in the development of storytelling over the past 200 years than might be supposed. The only reason why this is not generally appreciated is that, when Comedy turns truly dark, we no longer recognise it as Comedy. We saw earlier how Othello is a play which in plot terms shows many of the ingredients of a Comedy; although when there is no ‘recognition’, and the hero thus ends up smothering his anima and turning his dagger on himself, it becomes arguably the darkest play Shakespeare ever wrote. For similar reasons, we shall not be looking at some of the best-known examples of what happens to Comedy when it turns dark until the next chapter.
喜剧最明显的命运是，像其他情节一样，它脱离了其真正的原型基础，这就是我们在十九世纪末和二十世纪初的戏剧和轻歌剧中看到的情况。在约翰·施特劳斯和莱哈尔的轻歌剧、《吉尔伯特和沙利文》、王尔德和费多的戏剧以及许多后来的例子中，我们看到情节的外在形式被保留，但其更深层次的意义却被掏空，因此喜剧本身变成了一场滑稽剧。 。从这个意义上说，《蝙蝠》、《认真的重要性》或《风流寡妇》代表了喜剧的感伤，享受它所提供的肤浅乐趣，而不关心它更严肃的信息。
The most obvious fate of Comedy when, like the other plots, it became detached from its true archetypal foundations was what we saw happening in the plays and light operas of the later nineteenth and early twentieth centuries. In the operettas of Johann Strauss and Lehar, in Gilbert and Sullivan, the plays of Wilde and Feydeau and many later examples, we see the outward form of the plot preserved but emptied of its deeper significance, so that Comedy becomes a mere burlesque of itself. In this sense, Die Fledermaus or The Importance of Being Earnest or The Merry Widow represent the sentimentalisation of Comedy, enjoying the superficial fun it can provide without bothering about its more serious message.
正如我们之前所看到的，喜剧也发生了这样的情况：它分成了两种不同类型的故事。一方面是那些如此专注于其“喜剧”元素以至于这本身就成为目的的人，他们创作的故事只专注于其让我们发笑的潜力。在这里，我们拥有种类繁多的漫画电影、小说、戏剧和电视“情景喜剧”，从劳莱和哈代的电影到流行的英国电视连续剧《福尔蒂塔》、《是的，部长》、《爸爸的军队》、《直到死亡将我们分开》或斯特普托和儿子，所有这些本质上仍然是基于揭露现实与自欺欺人的自负之间的对比而衍生的幽默。
What also happened to Comedy, as we saw earlier, was that it split into two separate types of story. On one hand are those which so concentrate on its ‘comic’ element that this becomes an end in itself, producing stories which concentrate just on its potential to make us laugh. Here we have all that vast range of comic films, novels, plays and TV ‘situation comedies’, from the films of Laurel and Hardy to such popular British television series as Fawlty Towers, Yes, Minister, Dad’s Army, Till Death Do Us Part or Steptoe and Son, all of which are still essentially based on the humour to be derived from exposing the contrast between reality and the self-deluding pretensions of egotism.
尽管这样的现代喜剧可能很有趣，但它已经远离了原型的最初目的，即不仅要展示对人类自我幻想的刺破，还要展示向另一个更深的中心转变的解放效果在心灵中，自我。这就是为什么在阿里斯托芬的雅典开始之后，喜剧情节变得如此集中于男人和女人、英雄和阿尼玛、女主角和阿尼姆斯的结合。，作为人类整体的终极形象。同样，在喜剧中，没有什么比它如何展示一个人的自我中心对周围其他人的影响更具有启发性了。我们看到阿尔马维瓦或莱昂特斯的盲目自负如何使整个家庭或社区陷入阴影，以至于没有人能够自由地与其他人建立适当的关系。然后，当认识到来并且以自我为中心的主要根源被消除时，我们就会看到阴影如何消散，整个社区可以出现在光明中。
Entertaining though such modern comedy may be, it has travelled a long way from the archetype’s original purpose, which is to show not just the puncturing of the illusions of the human ego, but also the liberating effect of the shift to that other, deeper centre in the psyche, the Self. This was why, after its beginnings in the Athens of Aristophanes, the Comedy plot became so centred on the bringing together of a man and a woman, hero and anima, heroine and animus, as the ultimate image of human wholeness. Similarly, nothing is more illuminating in Comedy than how it shows the effect of one person’s egotism on everyone else around. We see how the blind egotism of an Almaviva or Leontes throws a whole household or community into shadow, so that no one is free to relate properly to anyone else. Then, when recognition comes and the dominating source of egocentricity is removed, we see how the shadows lift and the whole community can emerge into the light.
当喜剧中的幽默元素与其更严肃的基础分离时，这一切往往会消失，尽管正如我们所见，这些也通过变成浪漫爱情的故事而呈现出自己的生命，而无需太多的必要性。幽默。由于这产生了许多深刻而重要的故事，尤其是简·奥斯汀或《战争与和平》的小说，因此很难说它本身标志着情节的任何致命的琐碎化；尽管即使在《战争与和平》中也存在感伤的痕迹，特别是在两个中心夫妇的令人难以置信的配对中。我们还从这本书混乱而未解决的结局中看到托尔斯泰如何与基本原型失去联系。
It was all this which tended to get lost when the humorous element in Comedy became split off from its more serious foundations, although these too, as we saw, took on a life of their own by turning into stories of romantic love without much necessity for humour. Since this has produced many profound and important stories, not least the novels of Jane Austen or War and Peace, it can hardly be said in itself to have marked any fatal trivialisation of the plot; although even in War and Peace there are traces of sentimentality, notably in the somewhat implausible pairing-off of the two central couples. We also see in the book’s messily unresolved ending how Tolstoy was losing touch with the basic archetype.
但我们仍然看到许多现代喜剧，这两种元素仍然是统一的，尽管在那些让观众发笑的愿望变得过于明显占主导地位的地方，就像在沃德豪斯的小说或马克思兄弟的电影中一样，它们可能只是坚持不稳定和不平等的关系，“爱元素”仅作为一种附录而保留：一个器官在任何人都无法记住其最初目的的情况下幸存下来。
But we still see many modern comedies where the two elements remain unified, even though, where the desire to make the audience laugh becomes too obviously predominant, as in the novels of Wodehouse or the films of the Marx Brothers, they may persist only in rather uneasy and unequal relationship, with the ‘love element’ retained only as a kind of appendix: an organ surviving beyond the point where anyone can remember what was its original purpose.
同样，我们看到喜剧设法保留了轻松幽默与浪漫爱情的原始结合，但最终没有任何真正的自我意识：真正的喜剧原型中“认识”的基本时刻我们感觉到故事的重心终于从自我的幽闭恐惧症转移到了自我的解放。四场婚礼 和葬礼我们看到一群中产阶级年轻人在现代伦敦的生活中跌跌撞撞，意识相当有限；尝试找出他们应该与谁配对；参加彼此的婚礼；喝醉了（尽管当他们中的一个人死亡并被揭露为同性恋时，外部现实第一次闯入了他们混乱的迷雾）。我们终于看到男女主人公来到了“认可”的高潮时刻，他们在拥挤的教堂里参加他与别人的婚礼。在最尴尬的情况下，他们突然意识到，他们毕竟是彼此的命中注定，他们的爱是如此特别和独特，以至于超越了婚礼的纯粹外在社交仪式的需要。我们以我们典型的编程方式做出了适当的回应，发现这是一个感人的结论。但我们几乎感觉不到他们已经达到了宇宙、无私联合的超然状态，将整个社区聚集在欢乐和爱的和解中，在莎士比亚喜剧的结尾，可以让观众在走出剧院时感到他们如履薄冰，整个世界都焕然一新。的男主角和女主角《四个婚礼》仍然是他们一直以来相当有限、以自我为中心的夫妇。从这个意义上说，这部电影提供了另一个例子，说明当喜剧被自我接管并变成仅仅是其自身的感伤痕迹时会发生什么。
Equally we see comedies which manage to retain that original combination of light-hearted humour with romantic love, but where there is no sense at the end of any real access of self-awareness: that fundamental moment of ‘recognition’ in the true comic archetype where we feel the story’s centre of gravity finally moving from the claustrophobia of the ego to the liberation of the Self. In Four Weddings and a Funeral we see a group of middle-class young people stumbling through their lives in modern London in a fairly limited state of awareness; trying to work out who they should pair off with; attending each other’s weddings; getting drunk (although for once external reality breaks into their muddled haze when one of their number dies, and is revealed to have been a homosexual). We finally see the hero and heroine coming to the climactic moment of ‘recognition’, when they are in a crowded church for his wedding to someone else. In the most embarrassing circumstances they suddenly realise that they are meant for each other after all, with a love they imagine to be so special and unique that it transcends any need to go through the mere outward, social ritual of a wedding. We duly respond in our archetypally programmed way by finding this a touching conclusion. But we hardly have the sense that they have reached that transcendent state of cosmic, selfless union, bringing together a whole community in joy and loving reconciliation, which, at the end of a Shakespearian comedy, can send an audience out of the theatre feeling that they are walking on air and that all the world has been renewed. The hero and heroine of Four Weddings are still the same rather limited, egocentric couple they have been all along. In this sense the film provides yet another illustration of what happens when Comedy is taken over by the ego and turned into only a sentimental vestige of itself.
然而，我们在下一章中将看到，当喜剧情节既感伤又变得黑暗时，会发生什么？当它变得如此远离其应有的根源，以至于我们不再认为它与喜剧有关时。然而，正如我们将看到的，它以这种形式帮助塑造了我们现代文明中一些最著名的故事。
What we shall see in the next chapter, however, is what happens when the plot of Comedy is both sentimentalised and turns dark at the same time; when it becomes so far removed from its proper roots that we no longer recognise it as related to Comedy at all. Yet in this guise, as we shall see, it helped shape some of the most celebrated stories of our modern civilisation.
第二十四章
自我接管（四）
悲剧与重生
Chapter Twenty-Four
The Ego Takes Over (IV)
Tragedy and Rebirth
“唐璜……是英雄与恶棍中最模糊的一个。” 对幸福的追求和对爱的追求，曾经看似简单且赋予生命，却变得复杂且具有破坏性；他拒绝悔改，这使他成为英雄，属于文明的另一个阶段。
‘Don Giovanni ... is the most ambiguous of hero-villains. The pursuit of happiness and the pursuit of love, which had once seemed so simple and life-giving, have become complex and destructive; and his refusal to repent, which makes him heroic, belongs to another phase of civilisation.’
肯尼思·克拉克，《文明》 (1967)
Kenneth Clark, Civilisation (1967)
与其他情节一样，悲剧可以通过自我的眼睛来看待，这似乎是一个矛盾，因为这个原型的全部目的是展示当英雄或女英雄屈服于以自我为中心的部分时会发生什么。他们自己。我们看到他们正在经历导致他们毁灭的不可阻挡的模式。但当我们看到莎士比亚或托尔斯泰等讲故事的人描绘的这种模式时，我们看到它是客观呈现的，是从自我的超然立场来看的。我们可能会怜悯地看待《李尔王》或《安娜·卡列尼娜》，因为他们已经走向了灭亡。但我们毫不怀疑，他们被自我欺骗，陷入了自己编织的网中；我们正在关注的是任何此类对整体的反抗都必须展开的基本过程，
As with the other plots it might seem a contradiction in terms that Tragedy could be viewed through the eyes of the ego, since the whole purpose of this archetype is to show what happens when a hero or heroine gives way to the ego-centred part of themselves. We see them going through the inexorable pattern which leads to their destruction. But when we see this pattern portrayed by storytellers like Shakespeare or Tolstoy, we see it presented objectively, viewed from the detached standpoint of the Self. We may look on Lear or Anna Karenina with pity, as they are drawn down to their doom. But we are in no doubt that they have been deceived by the ego into a web of their own weaving; that what we are looking at is the essential process whereby any such rebellion against the whole must unfold, until hubris is followed by nemesis and the state of balance has been restored.
当自我接管这类故事时，一个明显的后果是，从更广泛的整体角度来看，它不再是这样看的。我们看到的注定要失败的中心人物，不是作为他或她自己不幸的根源，而是作为一个英勇的受害者，陷入了恶毒命运的辛劳之中。
One obvious consequence when the ego takes over this type of story is that it is no longer seen like this, from the viewpoint of the wider whole. We see the doomed central figure presented, not as the author of his or her own misfortunes, but as a heroic victim, caught up in the toils of a malevolent fate.
十八世纪浪漫主义时代即将到来的一个早期迹象是 1770 年代初所谓的狂飙运动，特别是 25 岁的歌德的第一部小说《少年的烦恼》获得了非凡的反响维特(1774)。这位年轻的英雄为他所居住的小镇描绘了一幅田园诗般的图画，其中一个夏日到来了他所见过的最美妙、最美丽的女孩。夏洛特是所有女性美德的典范，坚强、敏感、充满爱心、深情：阿尼玛的完美化身，维特立刻疯狂地爱上了他。而且，她似乎也喜欢他，他们的友谊很快就变得非常亲密。但当维特得知乐天已与另一个男人订婚时，这个梦想阶段就被挫折阶段的第一个暗示所取代。然而，即使她正派但迟钝的阿尔伯特到来，起初他们三个人似乎仍然相处得非常愉快。但最终，尽管洛蒂对维特的陪伴仍然表现得很满意，但她和阿尔伯特最终还是结婚了。她的新丈夫终于开始露面了对维特的持续存在感到不耐烦。英雄感觉他的“天使”正在离他而去。他开始崩溃。
One early sign of the approaching age of Romanticism in the eighteenth century was the so-called Sturm und Drang movement of the early 1770s, and in particular the extraordinary reception given to the first novel by the 25-year old Goethe, The Sorrows of Young Werther (1774). The young hero paints an idyllic picture of the little town in which he is living, in which one summer day arrives the most wonderful, beautiful girl he has ever seen. Charlotte is a paragon of all the feminine virtues, strong-minded, sensitive, loving, soulful: a perfect personification of the anima, with whom Werther at once falls madly in love. Furthermore, she seems to like him, and their friendship soon becomes very close. But this Dream Stage then gives way to the first hint of a Frustration Stage, when Werther learns that Lotte is engaged to another man. Even when her decent but dull Albert arrives, however, it initially seems the three of them can still get on very happily together. But eventually, despite Lotte’s continued apparent pleasure in Werther’s company, she and Albert are married. At last her new husband begins to show impatience at Werther’s continued presence. The hero feels his ‘angel’ slipping away from him. He begins to fall apart.
“糟糕的幽默感和无精打彩在维特的灵魂中越来越根深蒂固，直到最后它们占据了他的整个人格……他的焦虑摧毁了他所有剩余的智力、活力和机智。”
‘Ill humour and listlessness became more and more deeply rooted in Werther’s soul until finally they took possession of his entire personality ... his anxiety destroyed all the remaining forces of his intellect, his liveliness, his wit.’
他已经进入了噩梦阶段。终于，在一个冬日的夜晚，他与心爱的人进行了最后一次充满情感的会面。他长篇大论地给她朗读了他翻译的奥西恩伤感歌曲，给了她热烈的吻，然后冲进了夜色。午夜时分，他用从阿尔伯特借来的手枪开枪自杀。
He is into the Nightmare Stage. At last, on a winter’s night, he has a final emotional interview with his beloved. He reads out to her at enormous length his translation of the sentimental songs of Ossian, showers her with passionate kisses and storms off into the night. At midnight, using pistols borrowed from Albert, he shoots himself.
这个故事的外在形式与悲剧原型的五阶段模式完全对应。但我们不应该客观地将维特视为一个愚蠢、不成熟的年轻人，他处于青春期的迷恋之中，没有自我意识或自制力来抵抗。由于我们作为叙述者通过他自己的眼睛看到了故事的大部分内容，因此我们被邀请将他视为一位浪漫的英雄，他是如此理想化，以至于他准备为了他崇高的爱情梦想而牺牲生命本身。当然，这就是歌德的故事首次出版时所受到的欢迎，欧洲各地的年轻崇拜者纷纷效仿维特，穿着蓝色礼服和黄色背心，或者购买印有维特名字的香水。事实上，有些人被这个故事的自我美化感伤所迷惑，甚至引发了一系列同情性自杀。
The outward form of this story corresponds exactly to the five-stage pattern of the tragic archetype. But we are not expected to view Werther objectively as a foolish, immature young man, in the grip of an adolescent infatuation he has not the self-awareness or self-control to resist. Since we see much of the story through his own eyes, as its narrator, we are invited to identify with him as a romantic hero, so idealistic that he is prepared to sacrifice life itself for his noble dream of love. Certainly this was how Goethe’s story was received when it first appeared, as all over Europe young admirers rushed to copy Werther in donning blue frock coats and yellow waistcoats, or buy perfumes bearing Werther’s name. Indeed some were so carried away by the story’s self-glorifying sentimentality that it even inspired a rash of sympathetic suicides.
十五年后，莫扎特和达庞特创作了《唐·璜》 （ Don Giovanni，1789），副标题为《Il Dissoluto Punito》，这部电影也以英雄在追求爱情的过程中导致自己的毁灭为中心，但方式却截然不同。乔瓦尼的冒犯并不是痴迷地将他的阿尼玛投射到一个女人身上，因为她代表了“永恒的女性”。他无情地、不分青红皂白地贬低了自己的阿尼玛，将其投射到无穷无尽的女人身上。尽管肯尼思·克拉克力图把他提升为浪漫主义时代的另一位先驱，“他拒绝悔改，这使他成为英雄”，但我们对《唐璜》的结尾却毫无意义。我们应该同情他。当他被司令官带入地狱的火焰时，莫扎特欢快的结束六重奏的炽热声宣告了那些留下来的人的喜悦，这样一个自私自利的怪物已经从地球上消失了。他们正在庆祝光明战胜黑暗、生命战胜死亡。在这方面，唐璜并不像克拉克所说的那样属于即将诞生的新“文明阶段”，而是毫不妥协地属于一种更古老、更根深蒂固的观点。
Fifteen years later when Mozart and da Ponte created Don Giovanni (1789), subtitled Il Dissoluto Punito, this also centred on a hero bringing about his own destruction in the pursuit of love, but in a very different way. Giovanni’s offence was not besottedly to project his anima onto just one woman, as representing the ‘eternal feminine’. It was the ruthlessly indiscriminate way he degraded his anima by projecting it onto an endless succession of women. But despite Kenneth Clark’s bid to promote him as another precursor to the age of Romanticism, in ‘his refusal to repent, which made him heroic’, we have no sense at the end of Don Giovanni that we are meant to sympathise with him. When he has been carried down by the Commendatore to the flames of hell, the blazing out of Mozart’s joyful closing sextet proclaims the delight of those who remain that such a monster of egotism has been removed from the earth. They are celebrating a victory for light over darkness, life over death. In this respect Don Giovanni belongs not, as Clark had it, to the new ‘phase of civilisation’ that was coming to birth, but uncompromisingly to a much older and more deeply-rooted view.
然而，在接下来的半个世纪里，这一切都发生了变化。随着浪漫主义时代的到来，讲故事越来越陷入《少年维特》所预示的感伤主义之中，这尤其体现在两个方面。首先，在讲故事的历史上，故事第一次变得流行，故事有黑暗、悲剧的结局，没有任何生命力量胜利的救赎感。另一个是以无辜女主角惨死告终的故事数量。早在 1748 年，理查森 (Richardson) 的《克拉丽莎》(Clarissa)就首次预示了这一模式。看看在浪漫主义的鼎盛时期，讲故事如何明显地被“受迫害的少女”这个令人难以忘怀的人物所主导：可怜的、被误解的、被残酷虐待的阿尼玛。没有什么比十九世纪想象力极其丰富的讲故事形式更生动地表达这一点了：歌剧。
Over the next half-century, however, all this was to change. As the age of Romanticism arrived in earnest, and storytelling became increasingly engulfed in the kind of sentimentalism foreshadowed by Young Werther, this was particularly reflected in two ways. The first was that, for the first time in the history of storytelling, it became fashionable for stories to have dark, tragic endings without any redeeming sense that the forces of life had triumphed. The other was the number of stories which ended in the violent death of an innocent heroine. We are here firmly into the pattern first heralded by Richardson’s Clarissa as early as 1748. We see how, in the heyday of Romanticism, storytelling became conspicuously dominated by the haunting figure of ‘the persecuted maiden’: the poor, misunderstood, cruelly mistreated anima. And nowhere was this more vividly expressed than through that form of storytelling in which the nineteenth-century imagination was so notably prolific: the opera.
总的来说，当歌剧进入浪漫主义时代时，它所发生的最显着的变化之一就是它在所有意义上的黑暗化。十八世纪晚期歌剧的主要形式是喜剧。现在变成了悲剧。平衡从经常与莫扎特或罗西尼联系在一起的幸福结局和明亮的日光场景（当然也有例外）到我们与威尔第或瓦格纳联系在一起的阴郁舞台、夜景和灾难性结局。我们从《Cosi Fan Tutte》中的阳光明媚的蓝天下，女主人公希望她们的男朋友平静的大海和平静的航行，到岩石的午夜峡谷，在那里我们看到了《浮士德的诅咒》中“狂暴、怪异和轻率的“驶向地狱”” ，或者世界末日的启示诸神黄昏。我们在音乐上从古典时代清晰、开放、简单的和声转向伟大浪漫主义时代的漩涡、忙碌、揪心的情感主义和复杂的半音阶。但与这一切一样具有启发性的是他们的歌剧情节所发生的惊人变化。
In general, one of the more marked changes which came over opera as it moved into the age of Romanticism was the way in which, in all senses, it darkened. The predominant form in late-eighteenth-century opera had been comedy. Now it became tragedy. The balance swung from the happy endings and brilliantly lit daylight scenes so often associated with Mozart or Rossini (of course there were exceptions) to the gloomy stages, night scenes and catastrophic endings we associate with Verdi or Wagner. We pass from the sunlit blue skies under which the heroines wish their boyfriends calm seas and a tranquil voyage in Cosi Fan Tutte to the rocky midnight gorge where we see ‘the tempestuous, eerie and headlong “Ride to Hell”’ in the Damnation of Faust, or the world-ending apocalypse of Gotterdammerung. We move musically from the clear, open, uncomplicated harmonies of the classical age to the swirling, hectic, heart-tugging emotionalism and complex chromaticism of the great Romantics. But just as revealing as any of this was the startling change which came over their operas’ plots.
第一批以“受迫害少女”的困境为中心的著名悲剧歌剧之一是多尼采蒂的《拉美莫尔的露西亚》（1835），该剧大致改编自著名浪漫主义小说家沃尔特·斯科特爵士的小说。但当我们看它的情节时，我们发现发生了一些非常重要的事情。这根本不像传统的悲剧。由于其中的策略、混乱和误解，它更像是喜剧的情节：但是喜剧已经出现了可怕和悲惨的错误。
One of the first notable tragic operas to centre on the plight of ‘the persecuted maiden’ was Donizetti’s Lucia di Lammermoor (1835), loosely based on a novel by that leading Romantic novelist Sir Walter Scott. But when we look at its plot we see something very significant has happened. It is not like that of a conventional Tragedy at all. With its stratagems, confusions and misunderstandings, it is much more like the plot of Comedy: but comedy which has gone hideously and tragically wrong.
女主人公的兄弟恩里科勋爵立即被确立为中心黑暗人物。他不仅错误地侵占了光明英雄埃德加多的财产，而他自己的家族与埃德加多的家族有着长期的不和。他还涉嫌叛国罪。他认为，重振自己命运的唯一希望就是将他的妹妹露西亚嫁给另一位强大的领主阿图罗。但露西亚已经与埃德加多建立了秘密的爱情，她与埃德加多交换了戒指并发誓永远忠诚。当埃德加多前往法国时，恩里科伪造了一封信，让她认为埃德加多已经爱上了别人。露西亚对此感到震惊，为了拯救她的兄弟免于叛国罪，露西亚高尚地同意嫁给阿图罗。举行婚礼。但露西娅刚签完婚约，埃德加多就冲进来抗议，哭着要报仇。露西娅对哥哥的背叛感到绝望，她把戒指还给了埃德加多，埃德加多把戒指扔了下去，咒骂了她的家人，然后怒气冲冲地走了出去。不久之后，婚礼庆典还在继续，台下却传来露西娅失去理智杀死丈夫的消息。然后她进入了著名的“疯狂场景”，在其中她与埃德加多经历了一场想象中的婚礼。埃德加多没有意识到这一点，他去了他祖先的坟墓，希望他能加入他们的行列，因为他已经没有什么活下去的理由了。然后他得知露西亚已经失去理智并且即将死去。她的死亡钟声敲响，他向她的灵魂保证没有什么可以将他们分开，然后刺伤了自己。然后暴风雨般地出去。不久之后，婚礼庆典还在继续，台下却传来露西娅失去理智杀死丈夫的消息。然后她进入了著名的“疯狂场景”，在其中她与埃德加多经历了一场想象中的婚礼。埃德加多没有意识到这一点，他去了他祖先的坟墓，希望他能加入他们的行列，因为他已经没有什么活下去的理由了。然后他得知露西亚已经失去理智并且即将死去。她的死亡钟声敲响，他向她的灵魂保证没有什么可以将他们分开，然后刺伤了自己。然后暴风雨般地出去。不久之后，婚礼庆典还在继续，台下却传来露西娅失去理智杀死丈夫的消息。然后她进入了著名的“疯狂场景”，在其中她与埃德加多经历了一场想象中的婚礼。埃德加多没有意识到这一点，他去了他祖先的坟墓，希望他能加入他们的行列，因为他已经没有什么活下去的理由了。然后他得知露西亚已经失去理智并且即将死去。她的死亡钟声敲响，他向她的灵魂保证没有什么可以将他们分开，然后刺伤了自己。埃德加多没有意识到这一点，他去了他祖先的坟墓，希望他能加入他们的行列，因为他已经没有什么活下去的理由了。然后他得知露西亚已经失去理智并且即将死去。她的死亡钟声敲响，他向她的灵魂保证没有什么可以将他们分开，然后刺伤了自己。埃德加多没有意识到这一点，他去了他祖先的坟墓，希望他能加入他们的行列，因为他已经没有什么活下去的理由了。然后他得知露西亚已经失去理智并且即将死去。她的死亡钟声敲响，他向她的灵魂保证没有什么可以将他们分开，然后刺伤了自己。
The heroine’s brother Lord Enrico is at once established as the central dark figure. Not only has he wrongfully usurped the estates of the light hero, Edgardo, with whose family his own has a long-standing feud; he is also under suspicion of treason against the king. He conceives as the only hope of reviving his fortunes a scheme to marry his sister Lucia to another powerful lord, Arturo. But Lucia has already established a secret love with Edgardo, with whom she exchanges rings and vows of eternal fidelity. When Edgardo leaves for France, Enrico forges a letter to make her think Edgardo has fallen in love with someone else. Devastated by this, and to save her brother from death for treason, Lucia nobly agrees to marry Arturo. The wedding ceremony takes place. But no sooner has Lucia signed the marriage contract, than Edgardo bursts in to protest, crying for vengeance. In despair at her brother’s treachery, Lucia hands back her ring to Edgardo, who flings it down, cursing all her family, and storms out. Not long afterwards, while the wedding celebrations are still continuing, word comes from off-stage that Lucia has lost her reason and killed her husband. She then enters for her famous ‘mad scene’, in which she goes through an imaginary wedding ceremony with Edgardo. Unaware of this, Edgardo goes to the tombs of his ancestors, wishing he could join them because he has nothing left to live for. He then learns that Lucia has lost her wits and is dying. A bell tolls for her death and, promising her spirit that nothing can part them, he stabs himself.
就像《奥赛罗》或《罗密欧与朱丽叶》一样，这是一部没有获得认可的喜剧。无辜的恋人被邪恶的欺骗陷入了致命的误会，最终被撕裂，在不知道真相的情况下孤独地死去。但是，与莎士比亚版本不同的是，最后没有救赎的音符；借此我们至少可以看到造成他们不幸的黑暗根源，比如伊阿古，被带去接受惩罚；或者，就像罗密欧与朱丽叶的死一样，不和的家庭得以和解，和谐的秩序得以恢复。在这个黑色的结局中，光明没有胜利。只有黑暗反转取得了胜利。因此，从根本上讲，这个故事仍然悬而未决。
As in Othello or Romeo and Juliet, this is Comedy without the saving grace of recognition’. Trapped by wicked deceit into their fatal misunderstandings, the innocent lovers are torn apart and die despairing lonely deaths without ever knowing the truth. But, unlike in the Shakespearian versions, there is no redeeming note at the end; whereby we might at least see the dark author of their misfortunes, like Iago, being taken off for punishment; or, as by the death of Romeo and Juliet, the feuding families being reconciled and harmonious order restored. Out of this black ending there is no victory for light. Only the dark inversion has triumphed. And thus, in a fundamental sense, the story remains unresolved.
当我们继续看威尔第的歌剧时，我们看到喜剧情节的这种奇怪的曲解进一步发展。一长串类似的黑色故事都是基于误解、身份混乱和伪装：所有这些手段在喜剧中常用来掩盖角色彼此和他们自己的身份。但在这里，“识别”之光永远不会在黄昏时出现（或者直到为时已晚）。这些故事一次又一次以女主人公令人心碎的死亡而告终，尽管有时是他们的英雄，有时是两者兼而有之。《弄臣》的情节就是一个典型的例子，说明如何无情地将误解或模糊身份的伎俩叠加到另一个故事上，使这些故事得出戏剧性的结论。（1851），根据维克多·雨果的故事改编，威尔第给威尔第留下了深刻的印象，他称其为“最伟大的题材，也许也是现代最伟大的戏剧”。
When we move on to the operas of Verdi, we see this strange perversion of the plot of Comedy developed still further. A long succession of similarly black tales are based on misunderstandings, confusions of identity, disguises: all those devices familiarly used in Comedy to obscure the identities of characters from each other and themselves. But here the light of ‘recognition’ never breaks in on the twilight (or not until it is too late). And again and again these stories end in the heart-rending death of their heroine, although sometimes their hero and sometimes both. A typical instance of how relentlessly the tricks of misunderstanding or obscured identity could be piled on another to bring these stories to their melodramatic conclusions is the plot of Rigoletto (1851), based on a story by Victor Hugo, which so impressed Verdi that he called it ‘the greatest subject, and perhaps the greatest drama of modern times’.
曼图亚公爵立即成为故事的中心黑暗人物，他是暴君和浪荡子，是“黑暗男性气质”的缩影（定义为残酷地行使权力和不分青红皂白地追求性满足）。与他相对立的英雄是弄臣，他的宫廷弄臣，通过黑暗反转变成了驼背。起初，弄臣被他主人的黑暗所感染，发表了残酷、嘲讽的言论，首先是对公爵计划引诱的一位年轻女子的不幸丈夫；然后是对他的妻子的不幸丈夫。然后是公爵已经羞辱了一个女孩的不幸的父亲，他对他发出了诅咒。
Immediately established as the central dark figure of the story is the Duke of Mantua, Tyrant and libertine, the epitome of the ‘dark masculine’ (as defined by the cruel exercise of power and the indiscriminate pursuit of sexual gratification). Set against him as the hero is Rigoletto, his court jester, who by dark inversion is made a hunchback. At first Rigoletto is infected with his master’s darkness, addressing cruel, derisive remarks, first to the unhappy husband of a young woman whom the Duke is planning to seduce; then to the unhappy father of a girl the Duke has already dishonoured, who pronounces a curse on him.
但我们现在看到了弄臣的另一面，他在晚上偷偷地来看望他心爱的女儿吉尔达，阿尼玛，她不被允许知道她父亲的名字或职位。在她高兴地迎接他之前，他咒骂了命运，因为命运让他落入了他所厌恶的暴虐公爵的手中。当她的父亲离开时，公爵亲自乔装而来，向吉尔达求爱，当他在教堂看到她时，她就被他迷住了。他假装自己是一个穷学生，她爱上了他。当他轮流离开时，他可恶的朝臣来到房子绑架她，想象她是弄臣的秘密情妇。弄臣回来了，假装他们是来绑架隔壁房子里的某个人，也就是公爵早些时候计划勾引的女人，他们蒙住弄臣的眼睛并说服他帮助他们。因此，他无意中协助绑架了自己的女儿，并将她拖回公爵的宫殿。当弄臣进屋发现她不见了时，他想起了诅咒，心碎了。他前往宫殿，公爵很高兴见到她，她向父亲解释说她和公爵相爱了。他唯一的想法是他必须以某种方式谋杀公爵并与她一起逃离曼图亚。
But we now see the other side of Rigoletto, as he secretly comes at night to visit his beloved daughter Gilda, the anima, who is not allowed to know her father’s name or position. Before she joyfully greets him, he curses the fate which has placed him in the power of the tyrannical Duke, whom he detests. When her father departs, the Duke himself arrives, in disguise, to woo Gilda, who had caught his fancy when he saw her in church. He pretends he is a poor student, and she falls in love with him. When he in turn leaves, his hateful courtiers arrive at the house to kidnap her, imagining she is Rigoletto’s secret mistress. Rigoletto returns and, by pretending they have come to kidnap someone in the next house, the woman the Duke had earlier been planning to seduce, they blindfold the jester and persuade him to help them. He thus unwittingly assists in the kidnapping of his own daughter, whom they drag back to the Duke’s palace. When Rigoletto enters the house to find her gone, he is heartbroken, remembering the curse. He heads for the palace, where the Duke has been overjoyed to see her, and she explains to her father that she and the Duke are in love. His only thought is that he must somehow murder the Duke and flee with her from Mantua.
他等待机会向公爵报仇，同时向女儿揭露她情人的真面目。两人透过废弃旅馆墙壁的缝隙观看，而公爵再次乔装打扮，首先唱起了著名的咏叹调“ La donna e mobile””（“女人善变”），然后接待了马达莱娜，公爵的驻地雇佣刺客斯帕拉夫西勒的妹妹。弄臣告诉吉尔达回家并乔装成男性，这样当他与公爵结束后，他们就可以一起逃往维罗纳。斯帕拉夫西勒并不知道伪装的公爵的真实身份，弄臣贿赂刺客杀死他，并说他会在午夜回来收尸。马达莱娜恳求她的兄弟不要杀死她英俊的年轻追求者，但斯帕拉夫西勒只同意，只要在午夜之前找到替代受害者，并为他提供尸体。当然，这就是吉尔达，当她在一场大风暴最激烈的时候回来时，乔装成一个男人。斯帕拉夫西勒刺伤了她，并将她的尸体装进一个袋子里，当弄臣在午夜钟声敲响时回来时，这个袋子被交给了他。《La donna e mobile》。弄臣惊恐地打开袋子，发现了他的女儿，她在临死前宣称她仍然爱着公爵。再次想起致命的诅咒，小丑倒在了身上。
He waits for an opportunity to revenge himself on the Duke, and at the same time to expose to his daughter her lover’s true nature. The two of them watch through a crack in the wall of a derelict inn, while the Duke, again in disguise, first sings the famous aria ‘La donna e mobile’ (‘womankind is fickle’), then receives Maddalena, the sister of the Duke’s resident paid assassin Sparafucile. Rigoletto tells Gilda to go home and put on a male disguise, so that when he has finished with the Duke, they can escape together to Verona. Sparafucile is unaware of the disguised Duke’s true identity, and Rigoletto bribes the assassin to kill him, saying he will come back at midnight to collect the body. Maddalena begs her brother not to kill her handsome young wooer, but Sparafucile only agrees so long as a substitute victim can be found before midnight, to provide him with a corpse. This turns out, of course, to be Gilda, when she returns at the height of a great storm, disguised as a man. Sparafucile stabs her and places her body in a sack which, when Rigoletto returns as midnight strikes, is presented to him. Rigoletto drags his prize to a nearby riverbank, triumphantly imagining he is about to get rid of the hated Tyrant forever, when he hears the Duke’s mocking voice singing ‘La donna e mobile’. In horror Rigoletto opens the sack and discovers his daughter who, with her dying breath, declares that she still loves the Duke. Recalling again the fatal curse, the jester collapses over her body.
这个故事的一切都被故意弄得如此黑暗，以至于根本不包含任何救赎的元素。阿尼玛已被杀死。“黑暗男性能量”取得了胜利。放荡者仍然逍遥法外。每一次误解和伪装，并没有像喜剧那样最终有助于真相的揭露，而只是将情节进一步推向黑暗的结局。
Everything about this story is deliberately made so dark that it contains no element of redemption at all. The anima has been slain. The ‘dark masculine’ is triumphant. The dissolute remains unpunished. Every misunderstanding and disguise, instead of helping ultimately to lead to the revelation of the truth, as it would in Comedy, is used simply to push the plot further downwards towards its black conclusion.
我们在一部又一部威尔第歌剧中看到类似的错综复杂的情节，通常都以不幸的女主人公的暴力或痛苦的死亡而告终。在《茶花女》（《脆弱的人》，1853）中，当患有痨病的女主人公维奥莱塔似乎拒绝了她心爱的阿尔弗雷多时，他不知道她这样做只是为了无私地为他妹妹的幸福铺平道路；但当他们在进一步的误会之后最终重逢时，这只是为她从可怕的疾病中死去提供了一个暗示。命运之力（1862）开头，英雄阿尔瓦罗决定与他心爱的莱昂诺尔私奔，因为她“无情的父亲”不会同意这桩婚事。但是，阿尔瓦罗误杀了父亲，让她的兄弟唐·卡洛斯开始了终生的复仇之旅。逃亡途中失散，历经千辛万苦，男主出家为僧，女主为隐士，独居偏远隐修院。最后，“黑暗对手”卡洛斯追踪到了阿尔瓦罗，并试图在一片荒凉的岩石景观中杀死他，但自己也受了致命伤。英雄向附近的隐修院求助，他惊讶地发现了莱奥诺尔。她急忙去救助垂死的哥哥，弟弟刺伤了她，等她与爱人重逢时，她却死在了他的怀里。
We see similarly convoluted plots in one Verdi opera after another, usually ending likewise in the violent or painful death of the hapless heroine. In La Traviata (‘The Frail One’, 1853), when the consumptive heroine Violetta seems to reject her beloved Alfredo, he has no idea she has done this only to pave the way selflessly for his sister’s happiness; but when, after further misunderstandings, they are finally reunited, this is only to provide a cue for her to expire from her dreadful disease. La Forza del Destino (1862) begins with the hero Alvaro deciding to elope with his beloved Leonore, because her ‘unrelenting father’ will not consent to the match. But, by mistake, Alvaro kills the father, launching her brother Don Carlos on a lifelong Quest for vengeance. After being separated on their flight and going through many adventures, the hero ends up as a monk, the heroine as an anchorite living alone in a remote hermitage. Finally the ‘Dark Rival’ Carlos tracks down Alvaro and tries to kill him in a wild, rocky landscape, but is mortally wounded in return. The hero calls for help at a nearby hermitage where he is astonished to find Leonore. She hurries to aid her dying brother who manages to stab her, so that no sooner has she been reunited with her lover than she is dying in his arms.
在《游吟诗人》（ Il Trovatore ，1853）的结尾，女主人公利奥诺拉服毒，认为通过屈服于邪恶伯爵的挑衅，她至少换来了她心爱的曼里科的释放。进入囚禁他的地牢，她死在他的怀里。但随后伯爵下令处决曼里科，却发现为时已晚，他已经谋杀了自己的兄弟。在《西西里晚祷》 （1855）的结尾，当男主人公与父亲一起抵抗敌人而死时，女主人公为了不孤单而刺伤了自己。在《阿伊达》 （1871）的结尾，当英雄拉达梅斯被活埋在地牢里时，他欢迎死亡，因为他认为至少他心爱的阿伊达逃脱了他们的死敌；但在最后一刻，她溜进监狱，死在他的怀里。威尔第最终应该被吸引来制作他自己版本的原版黑色喜剧《奥赛罗》（1887），这或许并不奇怪，其中男主角窒息了女主角，然后将匕首插入了自己的心脏。
At the end of Il Trovatore (1853) the heroine Leonora takes poison, thinking that, by surrendering to the advances of the evil Count, she has at least bought the release of her beloved Manrico. Entering the dungeon where he is imprisoned, she dies in his arms. But then the Count orders Manrico’s execution, only to find too late that he has murdered his own brother. At the end of The Sicilian Vespers (1855), when the hero dies with his father, resisting their enemies, the heroine, not to be left alone, stabs herself. At the end of Aida (1871), when the hero Radames is buried alive in a dungeon, he welcomes death, because he thinks at least his beloved Aida has escaped their deadly enemies; but at the last minute she slips into the prison to die in his arms. It was perhaps not surprising that Verdi should eventually have been drawn to produce his own version of that original dark comedy-turned-tragedy, Otello (1887), where the hero suffocates the heroine before plunging a dagger into his own heart.
这些故事最让我们震惊的是它们是多么巧妙的混合物。与任何真实的外在或内在现实有多么无关；他们如何故意操纵他们熟悉的原型意象来调动观众的情感，其效果在每一点上都被具有令人难忘的情感力量的音乐所强化。它们以最耸人听闻的形式为感伤的含义提供了完美的定义：使用被编程到人类想象力中的许多最基本的象征意义的外在表现来引发所需的情感反应。然而，最能说明问题的是，没有什么比美丽、贤惠的女主人公的奇观更能有效地实现这种反应，她是女性价值、阿尼玛的体现。人类的灵魂，被压迫、被监禁、被贬低，最后被暴力杀害。
What must strike us about these stories is what concoctions of artifice they are; how unrelated to any genuine outward or inward reality; how wilfully their familiar archetypal imagery is manipulated to play on the emotions of their audience, with its effect reinforced at every point by music of memorably emotive power. They provide a perfect definition of what is meant by sentimentality in its most sensational guise: using an outward show of much of the most basic symbolism programmed into the human imagination to trigger off the desired emotional response. Yet most revealing of all is how nothing more effectively achieves such a response than the spectacle of a beautiful, virtuous heroine, the embodiment of the feminine value, the anima and soul of mankind, being oppressed, imprisoned, degraded and finally put violently to death.
瓦格纳：没有救赎的世界终结
Wagner: World ending without redemption
另一位十九世纪中叶的歌剧作曲家以一种截然不同的方式表达了这种黑暗，他是理查德·瓦格纳，他几乎与威尔第同时代。十九世纪歌剧最雄心勃勃的成就是由四部分组成的《指环》系列，《尼伯龙根的指环》，这是一部受挪威和条顿神话启发的非凡创作，但瓦格纳通过幻想的力量将其转化为完全属于他自己的东西。
Another mid-nineteenth-century opera composer who expressed this darkness in a very different way, was Richard Wagner, Verdi’s almost exact contemporary. The single most ambitious achievement of nineteenth-century opera was the four-part Ring cycle, Der Ring des Nibelungen, that extraordinary creation inspired by Norse and Teutonic myths, which Wagner nevertheless transmuted through the force of his fantasy into something entirely his own.
序言设定了故事的基本主题，即《莱茵的黄金》。在莱茵河水下神秘的、半明半暗的世界里，无意识，三个莱茵少女歌唱着发光的金色宝藏——意识。谁能用金子制作戒指，谁就能成为世界的主人，但要拥有它，就必须放弃爱情。小矮人阿尔贝里奇同意并夺取了黄金。就像托尔金后来的伪神话史诗《指环王》一样戒指，在没有爱的情况下赋予其持有者无尽的力量，是自我的力量。但是，尽管声称戒指的持有者将行使这种权力，但值得注意的是，在接下来的戏剧中，拥有戒指的人似乎没有一个人能够使用它来达到任何效果。它的力量完全是一种幻觉：它的象征意义出奇地空洞。
The prologue, setting the underlying theme of the story, is Das Rheingold. In the mysterious, half-lit world below the waters of the Rhine, the unconscious, the three Rhinemaidens sing of the glowing golden treasure, consciousness. Whoever can make a ring from the gold will be master of the world, but to possess it must forego love. The dwarfish Alberich agrees and seizes the gold. As in that later pseudo-mythic epic Tolkien’s The Lord of the Rings, the ring, which gives its bearer untold power without love, is the power of the ego. But, despite the claim that the holder of the ring will exercise such power, it is notable that not one of those who possess it in the drama which follows seems able to use it to any effect whatever. Its power is all an illusion: its symbolism strangely empty.
然后我们看到众神之王沃坦和他的妻子弗里卡，惊奇地凝视着众神的新家园瓦尔哈拉，但他知道必须为建造它的巨人法夫纳和法索尔特付出可怕的代价。巨人必须得到永葆青春的女神芙蕾雅。沃坦从阿尔贝里奇那里骗走了戒指，并说服巨人接受戒指和黄金。这枚戒指所激发的贪婪是如此之大，他们立即为此争吵起来。法夫纳杀死了法索尔特，然后消失并沉思着他那该死的宝藏。故事现在可以开始了。在《瓦尔库雷》的开头在三部主要戏剧中的第一部中，我们了解到沃坦仍然梦想着拿回戒指，尽管它在接下来的行动中没有扮演任何角色。故事开始于我们看到沃坦的儿子齐格蒙德逃离敌人的追捕，在亨丁和他的妻子齐格琳德的小屋里避难。她和齐格蒙德用药剂使亨丁失去知觉，然后一起逃跑。当洪丁醒来，决心追击齐格蒙德并杀死他时，沃坦命令女武神之一的战斗少女布伦希尔德保护齐格蒙德，但洪丁设法杀死了他。沃坦随后杀死了洪丁。布伦希尔德让齐格林德逃进森林，沃坦惩罚她，下令她不再是女神，而必须在火环的包围下陷入恍惚状态。只有勇敢地穿透火焰的英雄才能唤醒她。
We then see Wotan, the king of the gods, with his wife Fricka, gazing in wonder at the new home of the gods, Valhalla, but knowing that a terrible price must be paid to the giants, Fafner and Fasolt, who built it. The giants must be given Freya, the goddess of eternal youth. Wotan tricks the ring from Alberich and persuades the giants to accept it and the gold instead. So great is the greed the ring inspires, they immediately fight over it. Fafner kills Fasolt and disappears to brood over his accursed treasure. The story proper can now begin. At the start of Die Valkure, the first of the three main dramas, we learn that Wotan still dreams of getting the ring back, although it plays no part in the action which follows. This begins when we see Wotan’s son Siegmund, on the run from his enemies, taking refuge in the hut of Hunding and his wife Sieglinde. She and Siegmund drug Hunding into unconsciousness with a potion and run away together. When Hunding awakes, determined to pursue Siegmund and kill him, Wotan orders the battle-maiden Brunnhilde, one of the Valkyries, to protect Siegmund, but Hunding manages to kill him. Wotan then kills Hunding. Brunnhilde tells Sieglinde to escape into the forest, and Wotan punishes her by decreeing that she is no longer a goddess, but must fall into a trance surrounded by a ring of fire. She can only be woken by a hero fearless enough to penetrate the flames.
在第二部戏剧《齐格弗里德》的开头，我们得知齐格琳德在生下无所畏惧的英雄齐格弗里德时去世了。齐格弗里德长大后杀死了变成巨龙的法夫纳，从而赢得了戒指，也知道他必须营救布伦希尔德。因为无所畏惧，齐格弗里德能够穿透火焰。他用一个吻唤醒了布伦希尔德，他们高兴地宣告了他们的爱情。这个中心情节的大部分内容，即英雄战胜怪物，从而赢得宝藏并与阿尼玛结合，直接取自北欧伏尔松加传奇中西格德杀死巨龙法夫尼尔并赢得布伦希尔德的故事。
At the start of Siegfried, the second drama, we learn that Sieglinde has died giving birth to the hero, Siegfried, who is without fear. Siegfried grows up and slays Fafner, now transformed into a monstrous dragon, thus winning the ring and also the knowledge that he must rescue Brunnhilde. Because he is fearless, Siegfried can penetrate the flames. He wakes Brunnhilde with a kiss and they joyfully declare their love. Much of this central episode, the victory of the hero over the monster, thus winning the treasure and union with the anima, is taken directly from the story of Sigurd slaying the dragon Fafnir and winning Brynhild in the Norse Volsunga Saga.
在第三部也是最后一部戏剧《诸神黄昏》的开头，大地女神的三个女儿诺恩旋转金绳，将过去、现在和未来的知识连成一个完整的整体，象征着不加反思的本能世界。但当人类意识出现时，本能的连续体就被打破了，就像现在诺恩人的绳子缠结并折断时所发生的那样。齐格弗里德无法与他的阿尼玛幸福地结合在一起，而是必须回到这个世界去寻找新的冒险，并将戒指留给布伦希尔德作为他爱情的信物。
At the start of Gotterdammerung, the third and final drama, the three Norns, daughters of the earth goddess, spin the golden rope which binds together knowledge of past, present and future in an unbroken whole, as typifies the unreflective world of instinct. But when human consciousness emerges, that instinctive continuum is broken, as happens now when the Norns’ rope becomes tangled and snaps. Siegfried cannot rest in happy union with his anima, but must go back into the world in search of new adventures, leaving the ring with Brunnhilde as a token of his love.
然后，我们看到贪婪的阴谋正在酝酿，这将使故事走向毁灭性的结局，阿尔贝里奇的儿子哈根与他同父异母的兄弟冈特密谋夺回戒指。他们再次通过药物使齐格弗里德失去知觉。他忘记了布伦希尔德并爱上了冈特的妹妹古特鲁恩。在最初的挪威版本中，这种致命的药水是由他们像女巫一样的母亲格里姆希尔德提供的：从而更加明确地表明英雄与他的阿尼玛失去了联系因为他已经受到了黑暗母亲的咒语。齐格弗里德现在与冈特有兄弟情谊，他同意伪装成冈特并代表他向布伦希尔德求爱。由于只有他能穿透火焰，他能够将她带到他们聚集的大厅，在那里她看到齐格弗里德，现在戴着她的戒指，即将与古特鲁恩结婚。她发誓要为他的背叛报仇，现在她自己变成了“黑暗女性”，与哈根密谋谋杀齐格弗里德。当他去世时，他记起了布伦希尔德是谁以及她对他意味着什么。随后，哈根在他们为争夺戒指而战时杀死了冈特。布伦希尔德骑着她的马进入齐格弗里德的葬礼柴堆，火焰火焰熊熊燃烧，莱茵河泛滥成灾，莱茵少女抓住戒指，消失在漩涡般的水中。哈根拼命想要抓住戒指，却被他们拖入了深处。当世界溶解成火与水的对立面时，我们看到世界末日一直延伸到瓦尔哈拉本身，沃坦和他的众神同胞被火焰吞没。众神的黄昏变成了永恒的黑夜。
We then see the hatching of the greed-inspired plot which is to bring the story to its devastating conclusion, as Alberich’s son Hagen schemes with his half-brother Gunter to win back the ring. Again by means of a drug, they trick Siegfried into unconsciousness. He forgets Brunnhilde and falls in love with Gunter’s sister Gutrune. In the original Norse version, this fatal potion was supplied by their witch-like mother Grimhild: thus making it much more explicit that the hero loses touch with his anima because he has passed under the spell of the Dark Mother. Now bound by brotherhood to Gunter, Siegfried agrees to disguise himself as Gunter and to woo Brunnhilde on his behalf. Since only he can penetrate the flames, he is able to bring her to the hall where they are all assembled, where she sees Siegfried, now wearing her ring, about to marry Gutrune. Swearing vengeance at him for his betrayal, she now herself becomes the ‘dark feminine’, plotting with Hagen to murder Siegfried. As he dies, he remembers who Brunnhilde is and what she means to him. Hagen then kills Gunter as they fight for possession of the ring. Brunnhilde rides her horse into Siegfried’s funeral pyre, the flames blaze up, the Rhine overflows, the Rhinemaidens seize the ring and vanish back into the swirling waters. Hagen, desperately trying to grab the ring, is drawn down into the depths after them. As the world dissolves into the opposites of fire and water, we see the apocalypse stretching up to Valhalla itself, as Wotan and his fellow gods are engulfed by the flames. The twilight of the gods darkens into eternal night.
黑暗力量的胜利如此最终、如此包罗万象，令人着迷的是，看到那些在瓦格纳的魔力下如何坚持不懈地试图在其中辨别出一些积极的、赋予生命的元素：这表明，即使在在这场吞噬世界的大灾难中，光明的力量仍然以某种方式赢得了胜利。特别关注盘旋在死亡和毁灭的最终狂欢之上的音乐，即所谓的“救赎主题”，尽管瓦格纳本人将这一主题描述为“对布伦希尔德的颂扬”。这意味着布伦希尔德在齐格弗里德的火葬堆上自焚，与她的英雄团聚，象征着永恒的爱的力量，在某种程度上弥补了所发生的一切。已故的罗伯特·多宁顿教授甚至提出了这一建议，他的瓦格纳的《指环》及其象征：音乐与神话从荣格的角度解释了歌剧，认为“救赎母题”应称为“转变母题”；这意味着，既然旧的意识秩序的毁灭是新意识秩序出现所必需的转变的一部分，我们应该认为故事的结局孕育着希望。
So final and so all-embracing does this triumph of the power of darkness appear to be that it is fascinating to see how insistently those under Wagner’s spell have sought to discern in it some positive, life-giving element: an indication that, even in this world-consuming apocalypse, the forces of light have still somehow won the day. Particular attention is paid to the music which hovers above the final orgy of death and destruction, the so-called ‘redemption motif’, although Wagner himself described this motif as ‘the glorification of Brunnhilde’. The implication is that Brunnhilde’s self-immolation in Siegfried’s funeral pyre, to be reunited with her hero, by symbolising the power of eternal love, somehow redeems all that has happened. It was even suggested by the late Professor Robert Donington, whose Wagner’s ‘Ring’ and Its Symbols: The Music and the Myth interpreted the operas from a Jungian viewpoint, that the ‘redemption motif’ should be called the ‘transformation motif’; implying that, since the destruction of an old order of consciousness is part of the transformation necessary to allow a new one to emerge, we should regard the ending of the story as pregnant with hope.
事实是，瓦格纳讲述他的故事的方式没有丝毫证据证明这一点。在这方面，回到他从中汲取灵感的北欧神话是有益的。在最初的版本中，高潮出现在世界末日的灾难“诸神黄昏”中，当地球被吞没在世界末日般的毁灭景象中时，连同它下面和上面的一切，包括瓦尔哈拉的众神。但人们早已预言，一旦旧秩序被摧毁，一个新的、难以想象的美好世界将会出现：以完美英雄巴尔德尔的形象为中心，他和齐格弗里德一样，被背叛杀死了，但他必须死在以便他能够复活并统治新世界。
The fact remains there is not the slightest evidence for this in the way Wagner presents his story. It is salutary in this respect to go back to the Norse mythology from which he drew his inspiration. In the original version, the climax comes in the world-ending catastrophe of Ragnarok, when the earth is swallowed up in an apocalyptic vision of destruction, along with all that is beneath it and above it, including the gods in Valhalla. But it has long been foreshadowed that, once the old order has been destroyed, a new, unimaginably better world will emerge: centred on the figure of the perfect hero Baldur who, like Siegfried, has been killed by treachery, but who must die in order that he may be resurrected to rule over the new world.
在瓦格纳的版本中，这些都没有。我们所看到的只是这样一个故事：一旦以戒指为象征的奸诈、无情的利己主义力量来到这个世界，每个人都被它腐蚀了。我们看到的只是贪婪、竞争、欺骗、诡计和谋杀的无尽恶性循环，直到最终自我毁灭的力量首先摧毁了英雄，然后摧毁了阿尼玛，最后整个世界：只剩下一片空虚的黑暗。从自我的角度来看，除了自我主义之外，什么也没有。只有深藏在我们潜意识深处的原型意识，即即使故事中的黑暗力量带来了自身的毁灭，光明也必须始终重新出现，才会让人们想要想象他们在故事的结局中看到了一丝光明。尼伯龙根指环的奇怪而黑暗的故事。它不在那里。
In Wagner’s version, there is none of this. All we see is the story of how, once the treacherous, heartless power of egotism comes into the world, symbolised by the ring, everyone is corrupted by it. We see nothing but an endless vicious cycle of greed, rivalry, deceit, trickery and murder, until ultimately the self-destructive power of egotism destroys first the hero, then the anima, finally the entire world: leaving behind only an empty darkness. Beyond egotism, from the ego’s point of view, there is nothing. Only that archetypal awareness buried deep in our unconscious that, even as the dark power in a story brings about its own destruction, the light must always re-emerge, leads people to want to imagine that they see a glimmer of light in the ending to the strange, dark story of the Ring of the Nibelungen. It is not there.
失去的灵魂：比才和普契尼
The lost anima: Bizet and Puccini
1875 年，就在瓦格纳终于将他一生的核心作品（他花费了四分之一个多世纪的时间创作）首次在拜罗伊特演出的前一年，一部表面上更为传统的歌剧在巴黎首演。我们之前将比才的《卡门》视为由悲剧的五阶段原型模式塑造的故事的完美例子。柔弱的小英雄何塞虽然爱上了婴儿阿尼玛形象米凯拉，但他却迷上了妖妇卡门。他脱掉了士兵的制服，作为失去外在男子气概的象征，他拒绝了他所爱的阿尼玛并完全受到黑暗母亲的阉割咒语的影响。然后，斗牛士埃斯卡米洛就出现了，他永远无法意识到男性气质的阴影。最后，在徒劳的、自我毁灭的愤怒中，他猛烈抨击象征着他软弱不成熟的黑暗母亲。就像在《弄臣》或《指环》系列中一样，几乎没有迹象表明光明有任何救赎性的胜利。
In 1875, the year before Wagner finally brought the central work of his life, on which he had worked for more than a quarter of a century, to its first performance at Bayreuth, an outwardly rather more conventional opera had its premiere in Paris. We earlier looked at Bizet’s Carmen as a perfect example of a story shaped by the five-stage archetypal pattern of Tragedy. Although the weak little hero José is in love with an infantile anima-figure, Micaela, he becomes infatuated with the Temptress, Carmen. Throwing off his soldier’s uniform, as a symbol of losing his outward manhood, he rejects his loving anima and passes completely under the emasculating spell of the Dark Mother. There then looms up the bullfighter Escamillo, the shadow of the masculinity he will never realise; and finally, in futile, self-destructive rage, he lashes out at the Dark Mother, who symbolises his impotent immaturity. As in Rigoletto or the Ring cycle, there is very little sign of any redeeming victory for light.
从比才自己的心理学角度来看这个故事是很有趣的。他是另一位像司汤达一样具有母亲情结的十九世纪艺术家，因此他在自己内在的女性气质和男性气质方面都遇到了严重的困难。正如罗伯特·多宁顿告诉我们的那样，他想要住在他母亲的隔壁，但“他的情妇不顾她的需要来来去去，几乎就像是她的代理人一样”。当他的心绞痛严重发作时，他会看到母亲把手放在他的胸口上，此时“痛苦会加剧”。我会窒息，在我看来，她的手如此沉重地压在我身上，才是我痛苦的真正原因。比才容易暴怒，有一次到了威尼斯，当他收到母亲从医院寄来的一封信时，他陷入了严重的焦虑之中，
It is interesting to look at this story in the context of Bizet’s own psychology. He was another of those nineteenth-century artists, like Stendhal, with a mother complex, who therefore had serious difficulty both with his own inner feminine and with his masculinity. He wanted, as Robert Donington tells us, to live next door to his mother, yet have ‘his mistresses come and go in spite of her, almost as it would seem by proxy for her’. In his severe attacks of angina pectoris, he had visions of his mother laying her hand on his chest, when ‘the agony would increase. I would suffocate, and it seemed to me that her hand, weighing on me so heavily, was the true cause of my suffering.’ Bizet was liable to ungovernable rages, and once in Venice when he received a letter from his mother addressed from hospital, he fell into such acute anxiety that, at the mere sight of the letter unopened, he ‘attacked a gondolier as if to strangle him.’
当他选择梅里美的故事作为他最后一部也是最著名的歌剧的基础时，他一定无意识地认识到了自己身份的这个核心问题。当它最终在巴黎法兰西喜剧院投入制作时，比才陷入了心身危机。三个月后，扮演卡门的歌手在纸牌上预言她死亡的场景中，充满了不祥的预感，晕倒在翅膀上。第二天，传来这位作曲家于当晚去世的消息，享年 36 岁。
He must unconsciously have recognised this central problem of his own identity when he chose Merimée’s story to provide the basis for his last and most famous opera. When it finally went into production, at the Paris Comedie Francaise, Bizet entered a psychosomatic crisis. Three months later, the singer playing Carmen, at the scene where her death is foretold in the cards, was filled with such foreboding that she fainted in the wings. Next day came the news that the composer had died that same evening, at the age of 36.
普契尼是一位作曲家，他的歌剧继承了威尔第的歌剧，反映了十九世纪讲故事的人对受折磨、迫害的阿尼玛的痴迷。在《玛侬·莱斯科》（Manon Lescaut ，1893）的结尾，女主人公死在一片广阔、荒凉的平原上，歌声中唱着她是如何“孤独、迷失和被遗弃”的。在《波西米亚人》 （1896）的结尾，咪咪在她曾经享受过短暂一生中最大幸福的阁楼里因肺病痛苦地死去。在托斯卡（1900），女主人公听到她的爱人在隔壁房间被暴君斯卡皮亚的命令折磨的呻吟声，绝望地试图通过背叛他们的朋友来拯救他。当斯卡皮亚欺骗性地提出，如果她愿意接受他的性挑衅，就饶她的情人一命，她同意了，但当恶棍试图拥抱她时，她却刺伤了他。犯下了这一致命的罪行后，至少她认为自己成功地拯救了她的爱人。不过她然后发现这只是她的一个恶作剧，他已经被处决了。最后，当一名警察冲进来逮捕她时，托斯卡跳窗自杀，复仇地宣称她和暴君现在必须在上帝面前见面。
A composer whose operas continued those of Verdi in reflecting the obsession of nineteenth-century storytellers with the tortured, persecuted anima was Puccini. At the end of Manon Lescaut (1893), the heroine dies on a vast, desolate plain, singing of how she is ‘alone, lost and abandoned’. At the end of La Boheme (1896), Mimi dies painfully of consumption in the garret where she had once enjoyed the greatest happiness of her short life. In Tosca (1900), the heroine, having heard the groans of her lover being tortured in the next room on the orders of the Tyrant Scarpia, desperately tries to save him by betraying their friend. When Scarpia then deceitfully offers to spare her lover’s life if she will submit to his sexual advances, she agrees, only to stab the villain when he tries to embrace her. Having committed this fatal act, at least she imagines she has managed to save her lover. But she then sees this was only a trick played on her and that he has been executed. Finally, as a policeman bursts in to arrest her, Tosca flings herself out of the window to her death, vengefully proclaiming that she and the Tyrant must now meet before God.
但很少有故事的情节比普契尼的《蝴蝶夫人》（1904）更深刻地集中在对爱的阿尼玛的迫害上。当美国军官平克顿中尉安排与 15 岁漂亮的日本小女孩乔-乔-桑蝴蝶结婚时，他被警告不能对他的新妻子太轻视。但他只是愤世嫉俗地喝酒，直到他最终能娶到“一个真正的美国女孩”。结婚后，蝴蝶因嫁给了另一个宗教的外国人而被家人诅咒并抛弃。她深爱的丈夫现在必须是她的全部生命，第一幕以她快乐地屈服于他的拥抱而结束。
But there are few stories in which the plot is more poignantly centred on the persecution of the loving anima than Puccini’s Madame Butterfly (1904). When the American officer Lieutenant Pinkerton arranges to marry the pretty little 15-year old Japanese girl Cio-Cio-San, Butterfly, he is warned he must not treat his new wife too lightly. But he just cynically drinks to the day when he can eventually marry ‘a real American girl’. After their wedding, Butterfly is cursed and abandoned by her family for marrying a foreigner of another religion. Her beloved husband must now be her entire life, and Act One ends with her submitting joyfully to his embraces.
第二幕在三年后展开，她生下了一个儿子，但现在正与忠实的女仆铃木焦急地等待久别重逢的丈夫的归来。她唯一的梦想是他回来的那一天，终于看到他的船进港了。她兴奋地把家里摆满鲜花，穿上婚纱准备迎接他。她整晚都在等，但他始终没有出现；直到第二天早上，当他走进房子时，他把已婚的美国妻子留在了花园里。经过一夜无眠的蝴蝶正在休息，他告诉铃木他只是来带走他的儿子。当蝴蝶醒来并看到花园里的陌生女人时，她很快就弄清楚发生了什么事。她告诉平克顿他可能会在半小时内来接他的儿子。她拿起父亲按照天皇的命令自杀的刀。她的小男孩跑了进来，她向他道别，蒙住他的眼睛，并递给他一面美国国旗。她走到屏风后面，刀子掉在地板上，当平克顿进来时，她死了。
Act Two opens three years later when she has given birth to a son, but is now waiting anxiously with her faithful maid Suzuki for her husband to return after a long absence. Her only dream is the day when he will come back, and at last his ship is sighted coming into the harbour. She excitedly fills the house with flowers, puts on her wedding dress and prepares to welcome him. All night she waits, but he never arrives; until the following morning when he enters the house, having left the American wife he has married hidden in the garden. Butterfly is resting, after her sleepless night, and he tells Suzuki he has only come to take away his son. When Butterfly awakens and sees the strange woman in the garden, she soon puzzles out what is happening. She tells Pinkerton he may come to fetch his son in half an hour. She takes up the knife with which her father had committed suicide on the orders of the Mikado. Her little boy runs in and she says goodbye to him, binding his eyes and giving him an American flag to hold. She goes behind a screen, the knife clatters to the floor and, as Pinkerton enters, she dies.
这个故事的整个无意识目的是利用观众对充满爱的阿尼玛的令人心碎的场面的典型情感反应被无情的、以自我为中心的“黑暗男性”以最羞辱的方式拒绝。然而，当这种对光明的冒犯被无情地推向黑暗的结局时，就没有任何救赎的因素了。至少托斯卡能够在死前带走暴君斯卡皮亚。在这里，光明熄灭了，只剩下黑暗，似乎赢得了胜利。看到原型模式如此彻底地翻转，我们可能会感觉到这并不是故事的完整解决方案。但是，平克顿的纸板剪纸人物如此渺小和无趣，他随后会发生什么似乎并不重要。这个故事唯一的真正目的是通过贬低中心人物来获得最大的情感效果。一旦我们看到了忠实的、受折磨的阿尼玛的形象自杀的时候，柠檬已经被榨干了。剩下的实际上没有任何兴趣或意义。
The whole unconscious purpose of this story is to exploit the audience’s archetypal emotional response to the heart-tugging spectacle of the loving anima being rejected in the most humiliating fashion by the heartless egocentric ‘dark masculine’. Yet, when this offence against the light has been remorselessly pressed to its dark conclusion, there is no redeeming element. At least Tosca was able to take the Tyrant Scarpia with her before she died. Here light is extinguished and only darkness remains, having seemingly won the day. Seeing the archetypal pattern thus turned inside out, we may sense this is scarcely a complete resolution to the story. But, so slight and uninteresting is the cardboard cut-out figure of Pinkerton, it does not even seem to matter what might happen to him subsequently. The story’s only real purpose has been to play the degradation of its central figure for maximum sentimental effect. Once we have seen the image of the faithful, tortured anima committing suicide, the lemon has been squeezed. What remains is really of no interest or significance whatever.
悲剧英雄魅力四射
The tragic hero glamorised
从某种意义上回到本章开始的地方，悲剧既可以变得黑暗又可以感伤的最后一种明显的方式是我们看到它的英雄或中心人物，表现出典型的自我毁灭模式，但在某种程度上这让我们看到他们在某种程度上具有吸引力和魅力，因为他们以活力、兴奋和自由的名义反抗沉闷和压抑的社会秩序。
Returning in a sense to where this chapter began, a final obvious fashion in which Tragedy can both turn dark and be sentimentalised is where we see its hero, or central figures, acting out the archetypal self-destructive pattern, but in a way which invites us to see them somehow as attractive and glamorous, as they rebel in the name of vitality, excitement and freedom against a stuffy and oppressive social order.
在《道林·格雷的肖像》中客观上，我们可以毫不怀疑，主人公实际上一定是一个非常黑暗的人物，因为他开始了他的放荡和无名邪恶的生活。但同时我们又无法避免这样的印象：我们是要把这个美丽而颓废的年轻人视为一个光鲜亮丽的英雄；他所遵循的基本哲学——将生活视为一件通过满足感官而实现的艺术品——也并非偶然，而他的创造者奥斯卡·王尔德本人也对此表示同情，并因他通过以下方式震惊了维多利亚晚期社会的资产阶级礼节而感到高兴，这并非偶然。这样做。当这位美丽的年轻英雄最终自杀，瞬间变成了他肖像中被蹂躏、臃肿的怪物时，这是一种深深的自恋；仿佛这个故事真正的悲剧并不在于他对其他人施加的所有残酷和侮辱，而在于他突然失去了那些美丽的、史诗般的英俊外表。
In The Portrait of Dorian Grey, we may objectively be left in no doubt that the hero must in fact be a very dark character indeed, as he embarks on his life of debauchery and nameless wickedness. But at the same time we cannot avoid the impression that we are intended to see this beautiful, decadent young man as a glamorous hero; and it is no accident that the fundamental philosophy by which he lives, seeing life as a work of art achieved through gratifying the senses, was one with which his creator Oscar Wilde himself sympathised, delighting as he shocked the bourgeois proprieties of late Victorian society by doing so. When the beautiful young hero finally kills himself, turning instantly into the ravaged and bloated monster of his portrait, there is something deeply narcissistic about this; as if the real tragedy of the story is not all the cruelty and degradation he has inflicted on other people, but simply the way he has suddenly lost those beautiful, epicene good looks.
在这部 20 世纪 60 年代早期的典型邪教电影《朱尔斯和吉姆》中，我们不应该把这两位年轻英雄对妖精、引诱他们走向毁灭的妖精的痴迷仅仅视为他们软弱和不成熟的表现；相反，我们不应该把这两个年轻英雄对妖精、引诱他们走向毁灭的迷恋视为他们软弱和不成熟的表现。表明他们缺乏男性的性格力量或女性的理解力。这部电影的全部吸引力在于，这两个英俊的年轻人被认为是迷人而有吸引力的，不受资产阶级传统的束缚，迷失在一场令人兴奋、狂野、浪漫的冒险中，这正是 20 世纪 60 年代喜欢幻想的那种。当黑暗阿尼玛最后把吉姆赶下桥送死，留下朱尔斯困惑地盯着他们的骨灰，我们应该和他一样不理解；想到如此不幸的命运给如此美丽但令人困惑的梦想带来如此可怕的结局，这是多么悲伤。
In that typical cult film of the early 1960s, Jules et Jim, we are not expected to view the obsession of the two young heroes with the fey, beguiling Temptress who leads them on to destruction as simply a sign of their weakness and immaturity; as showing how they lack either masculine strength of character or feminine understanding. The film’s whole appeal was that the two good-looking young men were seen as glamorous and attractive, unshackled by bourgeois convention, losing themselves in a heady, wild, romantic adventure of precisely the kind the 1960s liked to fantasise about. And when the dark anima finally drives Jim off the bridge to their deaths, leaving Jules to stare bewilderedly at their ashes, we are meant to share his incomprehension; thinking how sad that malign fate should have brought such a terrible end to such a beautiful, if confusing dream.
在 20 世纪 60 年代后期的一部典型邪教电影《邦妮与克莱德》中，我们不会看到年轻的男女主人公互相怂恿“为了好玩”而过上犯罪生活，因为他们的不成熟导致他们走向了可怕的破坏性和毁灭性的境地。邪恶的。我们受邀观看他们驾驶老式汽车在美国阳光明媚的道路上行驶，偶尔停下来抢劫银行或向挡路的人开枪，这是另一种典型的、狂野的、令人兴奋的六十年代风格的冒险。当我们最终看到他们的汽车和尸体以梦幻般的慢动作被子弹打得千疮百孔时，我们应该想到，这种以自由之名大胆挑战单调常态的行为竟然会落得如此令人沮丧的结局，这是多么悲伤。
In that typical cult film of the later 1960s, Bonnie and Clyde, we are not expected to view the young hero and heroine who egg each other on into a life of crime ‘for kicks’ as being led by their immaturity into something horrifyingly destructive and evil. We are invited to see their driving around the sunlit roads of America in vintage cars, occasionally stopping to rob a bank or blast off at someone who has got in their way, as another typical, wild, exhilarating, sixties-style adventure. When we finally see their car and bodies being riddled with bullets in dream-like slow motion, we are meant to think how sad that such daring defiance of humdrum normality in the name of freedom should have had to come to such a depressing end.
当悲剧原型被人类自我接管时所发生的事情并不意味着它不再是悲剧。而是故事的平衡被颠倒了。这个故事现在没有兴趣看到更广泛的整体如何恢复，而不是客观地描述利己主义的不平衡最终如何导致自身毁灭，从而恢复宇宙平衡。我们看不到像《麦克白》这样的悲剧结束时那样，在可怕的黑暗入侵被清除之后，世界恢复和平与正常时那种庄严的庆祝气氛。它的担忧完全是内部的，悲剧模式本身内部正在发生什么。这就是为什么，在像《少年维特》、《雌雄大盗》、《指环》、威尔第或普契尼歌剧这样的浪漫悲剧的结尾，当我们看到阿尼玛走向灾难性的结局时，除了非常孤独之外，什么也没有留下。和寂静的黑暗。因为，在塑造了这样一个故事的自我世界之外，没有其他东西。
The point of what happens when the archetype of Tragedy is taken over by the human ego is not that it ceases to be tragic. It is that the balance of the story becomes inverted. Instead of presenting an objective portrayal of how the imbalance of egotism ultimately works to bring about its own destruction so that cosmic balance can be restored, the story now has no interest in seeing how the wider whole is restored. We do not see, as at the end of a tragedy like Macbeth, that solemn mood of celebration as the world returns to peace and normality after the terrible irruption of darkness has been purged. Its concern is solely internal, with what is going on inside the tragic pattern itself. Which is why, at the end of a romantic tragedy like Young Werther or Bonnie and Clyde, or the Ring cycle, or a Verdi or Puccini opera when we have seen the anima brought to her cataclysmic end, there is nothing left but a very lonely and silent darkness. Because, outside the world of the ego which has shaped such a tale, there is nothing else.
重生：黑暗感伤版本
Rebirth: A dark and sentimental version
自我可以接管《重生》的情节，这似乎又是一个矛盾，因为这涉及到展示其中心人物如何从以自我为中心转向更深层的自我中心。我们在这里要看到的唯一例子设法同时以黑暗和感伤的形式呈现重生主题。
Again it might seem a contradiction that the ego could take over the plot of Rebirth, since this is concerned with showing how its central figure moves from being centred on the ego to the deeper centre of the Self. The only example we shall look at here manages to present the Rebirth theme in both dark and sentimental guise at the same time.
1963 年，当伊恩·弗莱明 (Ian Fleming) 撰写他最后一部完整的詹姆斯·邦德小说《雷霆谷》时，十年来他每年出版的书籍已经让他变得富有。当他的故事开始被搬上银幕时，《诺博士》（1962）和《来自俄罗斯的爱》（1963），他们打算让邦德成为二十世纪最著名的虚构人物之一。但在某些方面，弗莱明现在对这位自青春期起就主宰他白日梦的幻想英雄深感厌倦。每年推出另一部邦德冒险已经成为一种令人上瘾的奴役。他对自己的创作产生了一种又爱又恨的认同感，在那些熟悉他的人看来，这种认同感已经变得非常不健康。事实上，由于与由此产生的压力不无关系的原因，他现在身体不适，这种疾病很快就会杀死他。
By the time Ian Fleming came in 1963 to write his last completed James Bond novel, You Only Live Twice, the books he had been turning out every year for a decade had already made him rich. When his stories began to be adapted for the screen, with Dr No (1962) and From Russia With Love (1963), they were about to make Bond one of the most famous fictional characters of the twentieth century. But in some ways Fleming was by now deeply weary of the fantasy-hero who had dominated his daydreams since adolescence. Churning out yet another Bond adventure each year had become a kind of addictive slavery. He had developed a kind of love-hate identification with his creation which, in the eyes of those who knew him well, had become seriously unhealthy. Indeed, for reasons not unrelated to the resulting strain, he was now physically ill, with the disease which was soon to kill him.
《雷霆谷》比之前的任何邦德故事都更加黑暗。首先，我们得知，在故事开始之前，这位无情的淫乱英雄终于结婚了；结婚后第二天，他的妻子就被超级恶棍谋杀了，这个超级恶棍已经在之前的两部故事中出现，成为邦德最大的阴暗对手。布洛费尔德是邪恶恐怖组织“幽灵党”的头目，他就像是全人类的头号敌人。妻子去世后，邦德精神崩溃：酗酒、不可靠、健康状况每况愈下。但现在他被特勤局局长“M”召唤，进行最后的伟大冒险。
You Only Live Twice is darker than any of the Bond stories which preceded it. For a start, we learn that, before the story opens, the relentlessly promiscuous hero had finally got married; only to see his wife murdered the day after their wedding, by the super-villain who had already emerged in two earlier stories as Bond’s greatest shadowy antagonist of all. Blofeld, head of the sinister terrorist organisation SPECTRE, is like a supreme enemy to all mankind. After his wife’s death, Bond had gone to pieces: drunk, unreliable, his health failing. But now he is summoned by ‘M’, head of the secret service, to a last great adventure.
在世界的另一端，在日本，出现了一个神秘人物，自称“碎手博士”。他住在一座巨大、偏远、坚不可摧的城堡里，周围是一座“死亡花园”，里面充满了火山池和各种有毒致命的植物、蛇、昆虫和鱼类。邦德启程前往日本，在那里他接受了老朋友、日本特勤局局长田中虎的长时间通报和准备。他得知碎手是“死亡收集者”，世界各地的人们都被吸引到他的花园里自杀。他被描述为“一个具有最邪恶本性的怪人……一个怪物……一个人形的恶魔……要么是一个大疯子，要么是一个大罪犯”。
On the far side of the world, in Japan, a mysterious figure has appeared, calling himself ‘Dr Shatterhand’. He lives in a huge, remote, impregnable castle, and has surrounded himself with a ‘Garden of Death’, full of volcanic pools and every kind of poisonous and deadly plant, snake, insect and fish. Bond sets out for Japan, where he goes through a long period of briefing and preparation from his old friend Tiger Tanaka, head of the Japanese secret service. He learns that Shatterhand is ‘a collector of death’, and that people are being attracted from all over the world to commit suicide in his gardens. He is described as ‘an eccentric of the most devilish nature ... a monster ... a fiend in human form ... either a great madman or a great criminal’.
然后邦德看到了这个影子怪物的照片，并立即认出他是他的宿敌布洛菲尔德，以新的面貌重新出现（正如我们在《指环王》开头索伦重新出现时所得知的那样，“总是在打败对手之后” ）。影子变成另一种形状并再次生长'）。邦德穿越日本，前往遥远的“黑暗”堡垒，它的主人一直被塑造成“以卡利古拉、尼禄、希特勒、人类任何其他伟大敌人的规模”行事的人。邦德将自己视为“奋力杀死歌利亚的大卫”，“接近巨龙的圣乔治”。
Bond then sees a photograph of this shadowy monster and at once recognises him as his old enemy Blofeld, re-emerged in new guise (as we are told when Sauron reappears at the beginning of The Lord of the Rings, ‘always after a defeat the Shadow takes another shape and grows again’). Bond travels across Japan towards the distant ‘dark’ fortress, its owner being built up all the time as someone who operates ‘on the scale of a Caligula, of a Nero, of a Hitler, of any other great enemy of mankind’. Bond sees himself as ‘David spurred on to kill his Goliath’, as ‘St George approaching the dragon’.
到目前为止，这个故事是弗莱明所写的克服怪物情节的完整例子。但此时一个奇怪的新元素介入了，它最终将回归并接管故事的最后阶段。在为他的终极考验做准备的最后一段时间里，邦德被送到一个原始的日本渔村，接受两个人物的指导：一位具有精神智慧的神道教牧师和一位美丽的年轻女孩铃木吻，她曾经不可能是好莱坞女演员但现在她回到了偏远的家乡，过着简单的渔女生活。突然间，在詹姆斯·邦德的故事中，我们看到了那些伟大的原型人物：智者老人和阿尼玛；其本身就足以警告我们一些不寻常的事情正在发生。邦德在村子里过着简朴的生活，几乎就像一个沙弥一样，和女孩一起进行潜水探险，从海底打捞出珍贵的贝壳。最后，她带他到当地的一座神社，向六个古老的石像守护者祈求他们的祝福。女孩挥手告别，邦德踏上了旅程的最后一步，从海里爬上“死亡城堡”。
So far, the story is as complete an example of the Overcoming the Monster plot as Fleming ever wrote. But at this point a strange new element intrudes, which will eventually return to take over the final stages of the story. For a last period of preparation for his crowning ordeal, Bond is sent to a primitive Japanese fishing village, to be taken under the tutelage of two figures: a spiritually wise Shinto priest and a beautiful young girl, Kissy Suzuki, once improbably a Hollywood actress but who has now come back to her remote native village to live as a simple fisher-girl. Suddenly looming up in the middle of a James Bond story we see those great archetypal figures, the Wise Old Man and the Anima; enough in itself to warn us that something unusual is afoot. Bond lives austerely in the village, almost like a novice monk, going on diving expeditions with the girl to bring up valuable shells from the seabed. At last she leads him to a local shrine, to ask six ancient stone figures, the Guardians, for their blessing. The girl waves goodbye, and Bond sets off on the last stage of his journey, emerging from the sea to climb into the ‘Castle of Death’.
躲在自杀花园里，他目睹了其他几名游客的可怕死亡，他们被食人鱼活活吃掉，或者被“黑卫”扔进冒泡的火山池中。他进入城堡，不可避免地被抓获并带到怪物面前进行仪式对抗。布洛菲尔德首先通过折磨他的受害者来取笑他。邦德被安置在一个建在间歇泉顶部的石凳上，他得知自己只剩下 11 分钟时间，间歇泉就会爆发出巨大的力量，把他吹走。他“用强大的力量”挣脱了束缚，徒手勒死了布洛费尔德，关闭了一个阀门以封锁间歇泉的顶部，然后跑到城堡的城垛上，那里有一个方便地拴着的氦气球让他可以在间歇泉喷发之前逃离。他如何在不到 11 分钟的时间内实现这一切仍然是个谜。但当他漂浮在海上时，发生了惊天动地的爆炸，他看到“死亡城堡”在巨大的火球中崩解。在爆炸中，他的气球落入海中，邦德感觉自己沉入温暖的水中，“走向和平，走向童年梦想的柔软和逃离痛苦的涟漪羽毛”。我们接下来读《泰晤士报》对“詹姆斯·邦德指挥官”的讣告报道说，他“在现役期间去世”。在同一本书中，弗莱明不仅最终安排了他的英雄结婚，而且还安排了他的婚礼。他也杀了他。
Hiding in the suicide garden, he witnesses the horrific deaths of several other visitors, being eaten alive by piranha fish or thrown by ‘Black Guards’ into bubbling volcanic pools. He enters the castle where, inevitably, he is captured and brought before the Monster himself for the ritual confrontation. Blofeld first makes sport with his victim, by having him tortured. Bond is placed on a stone seat which has been built on top of a geyser, and learns he has just 11 minutes left before it erupts with gigantic force to blow him away. He manages, as ‘with one mighty bound’, to break free, strangles Blofeld with his bare hands, closes down a valve to block off the top of the geyser and runs up onto the castle battlements, where a conveniently tethered helium balloon allows him to escape before the geyser erupts. How he has achieved all this in less than 11 minutes is a mystery. But as he floats out over the sea, there is a world-shattering explosion and he sees the ‘Castle of Death’ disintegrating in a vast fireball. Caught in the blast, his balloon falls into the sea and Bond feels himself sinking into warm water, ‘down towards peace, towards the rippling feathers of some childhood dream of softness and escape from pain’. We next read The Times obituary of ‘Commander James Bond’, reporting that he has ‘died on active service’. In the same book, not only has Fleming at last arranged for his hero to get married; he has also killed him off.
然后我们得知我们的英雄实际上根本没有死。他被从海上救了出来，不可避免地被充满爱意的铃木——他的灵魂阿尼玛——所救，在守护者神殿后面的一个孤独的洞穴里，她温柔地照顾着他，使他恢复了健康。但邦德已经完全失去了他以前的生活或身份的任何记忆。在智者的指导下，铃木给英雄起了一个新名字：“藤都轰”。他们在海边幸福地开始了新的、简单的生活。这是一幅田园诗般的画面，描绘了一个人彻底重生，战胜了死亡，抛弃了旧的生活，并最终找到了自己内心深处的身份。
We then learn that our hero is not in fact dead at all. He has been rescued from the sea, inevitably by the loving Suzuki, his soul-carrying anima, and in a lonely cave behind the shrine of the Guardians she has tended him gently back to health. But Bond has completely lost any memory of his former life or identity. Under guidance from the Wise Old Man, Suzuki gives the hero a new name, Todo Todoroki. They happily begin a new, simple life together by the sea shore. It is an idyllic picture of a man completely reborn, having conquered Death, left his old life behind and at last found his inmost identity.
但当然邦德还没有真正发现他的身份。他可能表现出了重生的外在模式，但他并没有经历任何内在的转变。他只是用外表的伪装掩盖了他原来的身份。就像詹姆斯·邦德的其他一切一样，这只是“某种儿时的逃脱梦想”。果然，他最终看到了一张报纸，上面写着“符拉迪沃斯托克”这个词。他知道这对他来说具有深远的意义；当铃木告诉他那是俄罗斯的一个地方时，他确信，只要他能到达那里，他就会以某种方式了解自己的真实身份。故事以邦德踏上新的漂洋过海前往苏联的旅程结束。铃木无法告诉他，因为她不知道他到底是谁，
But of course Bond has not really discovered his identity. He may have acted out the external pattern of a rebirth, but he has not been through any inward transformation. He has merely covered up his old identity with an outward disguise. Like everything else about James Bond, it is just ‘some childhood dream of escape’. And sure enough, he eventually comes across a scrap of newspaper on which he can make out the word ‘Vladivostok’. He knows this somehow has deep significance for him; and when Suzuki tells him it is a place in Russia, he is sure that, if only he can get there, he will somehow learn who he truly is. The story ends with Bond setting off on a new journey across the sea to the Soviet Union. What Suzuki cannot tell him, because she does not know who he really is, is that when he arrives there he will fall into the hands of his real enemies, and that from this voyage there will be no return.
这本充满死亡愿望的寓言是弗莱明最后完成的一本书。不到一年后，也就是他专横的母亲去世一个月后，他自己也去世了，享年仅 56 岁。鉴于他晚年的特殊压力，与幻想人物有关，例如弗兰肯斯坦的怪物占据了他的生活，他成为詹姆斯·邦德现实生活中唯一的受害者。
This death-wish laden fable was Fleming’s last completed book. Less than a year later, and only a month after the death of his dominating mother, he himself was dead, at the age of only 56. In light of the peculiar strains of his last years, associated with the fantasy-figure who, like Frankenstein’s monster, had taken over his life, he had become James Bond’s only real-life victim.
当我们结束这篇关于过去 200 年来许多故事以这些黑暗和感伤的形式呈现的一些主要方式的介绍性简历时，是时候从一个新的角度来审视这一根本性变化背后的过程了。西方讲故事的特点。正如我们所看到的（尤其是在伊恩·弗莱明的最后一个例子中），其更显着的特征之一是故事变得更像个人梦想，反映了其创作者特定的心理缺陷和不平衡。没有哪个讲故事的人比我们下一章的主题小说家托马斯·哈代（Thomas Hardy）更清楚地说明了这一过程。
As we end this introductory résumé of some of the main ways in which so many stories have in the past 200 years taken on these dark and sentimental forms, the time has come to look from a fresh angle at the process which lay behind this fundamental change in the character of Western storytelling. One of its more conspicuous features, as we have seen (not least in our last example from Ian Fleming), was the way stories became more like personal dreams, reflecting the particular psychological inadequacies and imbalances of their creators. No storyteller provides a clearer illustration of this process than the novelist who forms the subject of our next chapter, Thomas Hardy.
第二十五章
失去情节
托马斯·哈代——案例史
Chapter Twenty-Five
Losing the Plot
Thomas Hardy – A Case History
《信仰之海》
‘The Sea of Faith
也曾经在完整而圆润的地球海岸
Was once, too, at the full, and round earth’s shore
像一条明亮的腰带的褶皱一样躺着。
Lay like the folds of a bright girdle furl’d.
但现在我只听到
But now I only hear
它忧郁、漫长、令人退缩的咆哮，
Its melancholy, long, withdrawing roar,
退却，呼吸
Retreating, to the breath
夜风吹过广阔的边缘，令人感到凄凉
Of the night-wind, down the vast edges drear
还有世界上裸露的木瓦。
And naked shingles of the world.’
马修·阿诺德，多佛海滩(1867)
Matthew Arnold, Dover Beach (1867)
当我们探索过去两个世纪以来讲故事如何脱离其原型根源时，用一整章的时间来讲述一位作者的作品，这可能看起来很奇怪。但托马斯·哈代 (Thomas Hardy) 在 1872 年至 1895 年间写的七部主要小说对这一瓦解过程提供了如此丰富的见解，值得停下来仔细研究一下。我们已经看到了许多代表该过程最终结果的故事类型的例子。哈代的小说向我们展示的是实际发生的瓦解模式。我们看到一位作家的故事开始时显然仍然牢固地锚定在原型框架中：但后来逐渐失去了与原型框架的联系，其方式直接对应于他自己的内心世界的崩溃。
It might seem odd, as we explore the way in which storytelling has over the past two centuries become detached from its archetypal roots, to devote a whole chapter to the works of just one author. But the seven major novels written by Thomas Hardy between 1872 and 1895 provide such rich insight into this process of dis-integration that it is worth pausing to examine them in some detail. We have seen many examples of the types of story which represent the end-result of that process. What Hardy’s novels show us is the pattern of disintegration actually taking place. We see an author whose stories begin apparently still securely anchored in the archetypal framework: but who then gradually loses touch with it, in a way corresponding directly to the crumbling apart of his own inner world.
20 世纪 60 年代末，电影版《远离尘嚣》（1967）使哈代的故事重新流行起来，对此的一种解释是，这些对英国乡村生活的丰富多彩的回忆，在被英国乡村的所有瓦解压力所打乱之前。现代世界迎合了二十世纪末几乎无法满足的怀旧欲望。但显然，关于哈代的书，最不能说的是它们传达了对过去的任何舒适怀旧的看法。相反，英语中很少有故事如此凄凉：一种阴郁和绝望的感觉像云一样笼罩在小说的序列上。
When in the late 1960s a film version of Far from the Madding Crowd (1967) launched Hardy’s stories back into vogue, one explanation offered for this was that these colourful evocations of life in the English countryside before it was disrupted by all the disintegrative pressures of the modern world appealed to the late-twentieth century’s almost insatiable appetite for nostalgia. But obviously the last thing that can be said about Hardy’s books is that they convey any cosily nostalgic view of the past. On the contrary, there are few stories so bleak in the English language: a sense of gathering gloom and despair hangs over the sequence of novels like a cloud.
总的来说，我们可以在他的主要故事中注意到两个特征，这两个特征为我们提供了有关正在发生的事情的特定线索。首先是他们所描述的世界是如此两极分化。一方面是多塞特郡乡村的永恒、根深蒂固的世界，哈代本人就是在其中长大的。这在早期小说中像喜剧合唱团一样出现的乡村人物身上得到了体现：《绿林树下》中梅尔斯托克的颂歌歌手，田园风光《远离尘嚣》中韦瑟伯里麦芽酒屋里的饮酒者。这反映在哈代对自然的精美观察的描述中： 《还乡》中埃格顿荒原的花朵和昆虫；树木的低语、沙沙声和叹息几乎贯穿了《林地人》的每一章。最重要的是，这个根深蒂固的自然世界被三个几乎可以互换的人物所概括：《远离尘嚣》中的加布里埃尔·奥克；《还乡》中的迪戈里·维恩和《林地人》中的贾尔斯·温特伯恩。这些岩石般的人物，代表着无私善良和务实常识的永恒美德，他们都扮演着精明而悲伤的角色，而故事中的其他人却被自欺欺人的幻想冲昏了头脑，不顾一切地包围了他们的生活。自己的毁灭。
In general there are two features we may note in his major stories which give us a particular clue as to what is happening. The first is the way the world they describe is so sharply polarised. On the one hand there is the timeless, rooted world of the Dorset countryside in which Hardy himself had grown up. This is personified in the rustic characters who appear in the early novels like a comic chorus: the carol singers of Mellstock in Under the Greenwood Tree, the bucolic drinkers in the Weatherbury malthouse in Far from the Madding Crowd. It is reflected in Hardy’s beautifully observed descriptions of nature: the flowers and insects of Egdon Heath in The Return of the Native; the trees which whisper and rustle and sigh through almost every chapter of The Woodlanders. Above all this rooted natural world is summed up in those three almost interchangeable figures, Gabriel Oak in Far from the Madding Crowd; Diggory Venn in The Return of the Native and Giles Winterborne in The Woodlanders. Each of these rock-like characters, representing the timeless virtues of unselfish goodness and practical common sense, is cast in the role of looking on, shrewdly but sadly, while others in the story get carried away by self-deceiving fantasies, recklessly encompassing their own destruction.
在另一极，像不断增长的阴影一样侵入这个根深蒂固的世界，是一种截然不同的男性形象的反复出现：一个对女性的掠夺者，黑暗，无情，滥交，没有根基或道德中心，造成痛苦和破坏对所有被他迷住的人：《远离尘嚣》中的特洛伊中士；《还乡》中的达蒙·维尔德；埃德雷德·菲茨皮尔斯在《林地人》中；德伯家的苔丝中的亚历克·德伯维尔。
At the other pole, intruding into this rooted world like a growing shadow, is the repeated appearance of a very different type of male figure: a predator on women, dark, heartless, promiscuous, without roots or moral centre, who inflicts misery and destruction on all those who fall under his spell: Sergeant Troy in Far from the Madding Crowd; Damon Wildeve in The Return of the Native; Edred Fitzpiers in The Woodlanders; Alec D’Urberville in Tess of the D’Urbervilles.
小说中的第三个重要群体是夹在这两个极点之间的悲剧人物：那些已经走向更广阔的世界，失去了中心和根，然后注定要再次将它们打倒的人：克莱姆·约布赖特（Clym Yeobright）还乡；迈克尔·亨查德《卡斯特布里奇市长》；《林地人》中的格蕾丝·梅尔伯里。
Making up a third significant group in the novels are the tragic characters caught between these two poles: those who have gone out into the wider world, lost their centre and their roots, and then make doomed attempts to put them down again: Clym Yeobright in The Return of the Native; Michael Henchard in The Mayor of Casterbridge; Grace Melbury in The Woodlanders.
哈代小说的另一个显着特征是，它们在很大程度上集中于人物对合适伴侣的无望寻找：使他们完整的“另一半”。苔丝、裘德、贾尔斯·温特伯恩、亨查德市长、格蕾丝·梅尔伯里、尤斯塔西娅·维、苏·布赖德黑德、农夫·伯德伍德：徒劳地寻找真正“另一半”的哈代人物名单几乎是无穷无尽的。没有其他作家如此痴迷于不匹配，那些英雄或女主人公的生活似乎因与错误的女人或错误的男人的恶毒命运而受到破坏。在小说的这些一般特征中，我们可以看到，尤其是罗伯特·吉廷斯的启发性传记，哈代的故事如何反映了他自己内心生活的展开：作为一个极度忧郁、缺乏安全感的人，五十年来，
The other notable feature of Hardy’s novels is the remarkable extent to which they are centred on their characters’ hopeless search for the right partner: the ‘other half’ who would make them whole. Tess, Jude, Giles Winterborne, Mayor Henchard, Grace Melbury, Eustacia Vye, Sue Bridehead, Farmer Boldwood: the list of Hardy characters who seek vainly for their true ‘other half’ is almost endless. No other writer has ever been so obsessed with mismatches, with the hero or heroine whose life seems blighted through having been landed by a malevolent fate with the wrong woman or the wrong man. And in both these general features of the novels we can see, thanks not least to the illuminating biography by Robert Gittings, just how Hardy’s stories reflected the unfolding of his own inner life: as a deeply melancholy, insecure man who for 50 years, having been estranged from his own rustic roots and youthful faith, wandered through an inward world in an ever-increasing confusion of bitterness and despair, seeking an innocence, a sense of certainty and wholeness which would never come again.
扎根的开始
The rooted beginning
哈代于 1840 年出生在多尔切斯特附近的一间小茅草屋里，这座小屋至今仍保存着原样：现代世界闯入之前英国古老乡村的完美明信片形象。他的父亲是当地一位受人尊敬的石匠。以其在教堂和乡村婚礼上的乡村小提琴演奏而闻名。在他的童年和青少年时期，多塞特郡这个偏远角落的乡村人民、风景和习俗都是哈迪所熟悉的世界。但他已经以他的聪明才智、他的狂热阅读和他对一个人的孤立感而闻名。截然不同的命运。从小就怀有简单的宗教信仰，他梦想成为一名牧师。尽管他随后开始学习建筑师，甚至在遥远的伦敦大城市呆过很短的时间。他对不同女孩的一系列强烈的、未实现的激情表现出了他对异性的易感性。吉廷斯展示了哈代是多么“受母亲支配”，以及他在与异性的关系中是多么不自在。在他二十多岁的时候，他开始致力于作家的职业生涯。他遇见并爱上了艾玛·吉福德（Emma Gifford），她是一位西部乡村律师社会地位优越的女儿。在三十出头的时候，他终于写出了第一部成功的小说。
Hardy was born in 1840 in the little thatched cottage near Dorchester which is still preserved today much as it was: a perfect picture-postcard image of old rural England before the modern world broke in. His father, a respected local stone-mason, was known for his rustic fiddle-playing, in church and at village weddings. Through his childhood and teens, the country people, scenes and customs of this remote corner of Dorset were all the world Hardy knew. But already he was marked out by his intelligence, his avid reading and his sense of separateness for a very different destiny. With the simple religious faith of his upbringing, he dreamed of being a clergyman; although he then began to study as an architect, and even spent a short time in the distant great city of London. He showed his susceptibility to the opposite sex in a series of intense, unconsummated passions for various girls. Gittings shows how ‘mother-dominated’ Hardy was, and how ill at ease in his relationships with the opposite sex. In his late twenties, he gravitated towards his career as a writer. He met and fell in love with Emma Gifford, the socially superior daughter of a west country solicitor. And in his early thirties he at last wrote his first successful novel.
绿林树下（1872）是他所有书中最快乐、最纯真的一部，就像他自己年轻时状态的迷人回顾快照。从剧情上来说，这是一部浪漫喜剧。该剧讲述了英俊的年轻主人公迪克·杜伊（Dick Dewy）在所有与他一起长大的村民中脱颖而出的故事，他爱上了漂亮、思想独立的年轻农民的女儿花奇·戴（Fancy Day），她在社交方面比他高出一筹，搬进校舍开办乡村学校。但在他赢得她的芳心之前，按照喜剧情节，两个对手出现在他面前。她的父亲，像他之前的许多“无情的父亲”一样，决定她不应该嫁给她年轻的情人，而应该嫁给一个社会地位更高的人，一个富裕的农民，教堂管理员希纳尔先生。新的、具有现代思想的年轻牧师梅博尔德先生也向她求婚。这两个人也在故事的主要次要情节中发挥了关键作用，他们决心结束教堂里由乡村管弦乐队伴奏音乐的古老做法，并安装由 Fancy Day 演奏的现代新管风琴。牧师将乡村音乐家扔进垃圾堆的无情方式象征着哈代如何看待未来的新世界打破乡村生活的传统方式，而且很能说明问题的是，迪克的两位竞争对手都认同这种创新为了花式的手。但最终，道路已经清晰，在最后几页，这对年轻夫妇结婚了，想必从此过着幸福的生活。牧师将乡村音乐家扔进垃圾堆的无情方式象征着哈代如何看待未来的新世界打破乡村生活的传统方式，而且很能说明问题的是，迪克的两位竞争对手都认同这种创新为了花式的手。但最终，道路已经清晰，在最后几页，这对年轻夫妇结婚了，想必从此过着幸福的生活。牧师将乡村音乐家扔进垃圾堆的无情方式象征着哈代如何看待未来的新世界打破乡村生活的传统方式，而且很能说明问题的是，迪克的两位竞争对手都认同这种创新为了花式的手。但最终，道路已经清晰，在最后几页，这对年轻夫妇结婚了，想必从此过着幸福的生活。
Under the Greenwood Tree (1872), the happiest and most innocent of his books, is like a charming retrospective snapshot of his own youthful state. In plot terms, it is a romantic Comedy. It centres on how its handsome young hero, Dick Dewy, marked out from all the other villagers he has grown up with, falls in love with Fancy Day, the pretty, independent-minded young farmer’s daughter, socially a cut above him, who has moved into the schoolhouse to run the village school. But before he can win her hand, in keeping with the Comedy plot, two rivals loom up in his way. Her father, like so many ‘unrelenting fathers’ before him, is determined she should not marry her young lover but someone of higher social status, a well-off fellow-farmer, Mr Shinar the churchwarden. She is also proposed to by Mr Maybold, the new, modern-minded young clergyman. These two also play a key part in the story’s main sub-plot, their determination to end the age-old practice of having the music in church accompanied by a rustic orchestra, and to install a modern new organ played by Fancy Day. The heartless way in which the vicar consigns the village musicians to the scrapheap is a symbol of how Hardy saw the new world of the future breaking in on the traditional ways of country life, and it is telling that this innovation is identified with both Dick’s rivals for Fancy’s hand. But in the end the way is clear and in the final pages the young couple are married, presumably to live happily ever after.
考虑到即将发生的事情，这部浪漫喜剧读起来只不过是一个简单的愿望实现童话故事。两年后，就在哈代结婚之前，他发表了《远离尘嚣》（1874）。这是他在他出生的小屋里写的最后一部小说，周围仍然环绕着他的家人和他年轻时的乡村世界。同样，基本情节是喜剧的情节。我们再次看到男女主人公在故事的早期相遇，大部分动作再次集中在两个竞争对手为她的婚姻带来的问题上。尽管故事最终还是有一个圆满的结局，但这已经不再像《绿林树下》那样轻松地实现了。
In the light of what was to come, this romantic Comedy reads like nothing more than a simple wish-fulfilment fairy tale. Two years later, just before Hardy’s own marriage, came Far from the Madding Crowd (1874). This was the last novel he wrote in the cottage of his birth, still surrounded by his family and the rustic world of his youth. Again the basic plot is that of Comedy. Again we see the hero and heroine meeting early in the story, and much of the action is again taken up with the problems posed by two rivals for her hand in marriage. But although the story still comes eventually to a happy ending, this is no longer achieved with anything like the fairy tale ease of Under the Greenwood Tree.
主人公加布里埃尔·奥克（Gabriel Oak）坚强、善良、自持，是迪克·杜伊（Dick Dewy）的成熟版，与《哈代》中的任何角色一样完整。我们首先看到他是一个二十多岁、自力更生的年轻农民，此时他遇到了故事中美丽但虚荣任性的年轻女主人公芭丝谢芭·埃弗丁。再次，就像幻想日的更发达版本一样，她刚刚抵达教区定居。他们又见面了，互相开玩笑，没过多久，奥克就坠入爱河了。他竟然还敢提亲。但芭丝谢芭说她太独立了。她需要有人来“驯服”她告诉他他没有足够的力量去做这件事。不久之后，她消失了，接管了她继承的一个农场，奥克遭遇了灾难，他所有的羊都从采石场上掉了下来。他失去了生计、农场和一切。他被抛在阴影中，注定要生活在“线下”，因为他寻求一份卑微的牧羊人的工作。夜间穿过这个国家时，他看到了不祥的火焰。这是一座着火的麦堆，威胁着摧毁其他麦堆。农场工人在混乱中四处奔波，但奥克立即接管了任务，潜在的灾难性大火被扑灭了。农场主对他冷静的常识印象深刻，命令他担任农场经理。直到这时，两人才发现彼此的身份，而他的新雇主是埃弗丁小姐。
The hero Gabriel Oak, strong, good-hearted and self-contained, a maturer version of Dick Dewy, is as complete a man as any character in Hardy. We first see him as a self-reliant young farmer in his late twenties, at the moment when he encounters the story’s beautiful but vain and headstrong young heroine, Bathsheba Everdene. Again, like a more developed version of Fancy Day, she is just arriving to settle in the parish. They have further meetings, exchanging teasing badinage, and it is not long before Oak is in love. He even dares propose marriage. But Bathsheba says she is too independent. She needs someone to ‘tame’ her, and tells him he is not strong enough to do it. Shortly afterwards she disappears, to take over a farm she has inherited, and Oak is struck by disaster, when all his sheep plunge to destruction over a quarry face. He has lost his livelihood, his farm, everything. He is cast into the shadows, doomed to live ‘below the line’ as he seeks work as a lowly shepherd. Crossing the country by night, he sees an ominous blaze of flame. It is a wheat-rick on fire, threatening to destroy others. Farmhands are rushing around in confusion, but Oak at once takes charge and the potentially disastrous fire is extinguished. Impressed by his cool common sense, the farm’s owner orders that he be taken on to run the farm as manager. Only then do the two discover each other’s identities, and that his new employer is Miss Everdene.
故事的大部分内容是，加布里埃尔如何从他在阴影中的卑微地位，不得不眼睁睁地看着他的冲动、专横的情妇在“线外”犯下一个又一个错误。第一个是她对一位富有的年长邻居农夫博德伍德的引导，当时她无意嫁给他。奥克如此直率地警告她的愚蠢行为，以至于芭丝谢芭解雇了他。但她的农场几乎立刻就出现了危机，她的羊因吃了三叶草而肿胀得致命。她必须恳求奥克回来，因为他再次成为唯一一个有坚强性格和实践知识来拯救她的人。
The greater part of the story is then taken up with how Gabriel, from his subservient position in the shadows, has to watch while, ‘above the line’, his impulsive, imperious mistress makes one mistake after another. The first is her leading on of a rich, older neighbour Farmer Boldwood, when she has no intention of marrying him. So forthright is Oak in remonstrating with her for such folly that Bathsheba dismisses him. But almost immediately a crisis arises on her farm, when her sheep become fatally distended from eating clover. She has to plead with Oak to return, as again the only man with the strength of character and practical knowledge to save her.
她的下一个更具灾难性的错误发生在风度翩翩的花花公子特洛伊中士的附近。芭丝谢芭被他“黑暗男性气概”的魅力迷住了，不计后果地结了婚。在庆祝他们的婚礼和丰收的盛大聚会的夜晚，只有加百列观察到暴风雨即将来临。全部收获物都堆放在未受保护的堆垛中，有丢失的危险。特洛伊轻蔑地驳回了他的警告，命令所有女人回家，这样他就可以催促所有男人喝得酩酊大醉。当各种动物的奇怪行为提供了三个连续的预兆，表明风暴可能会达到可怕的程度时，加布里埃尔像恶魔一样工作，以掩盖瑞克。当第一道闪电出现时，芭丝谢芭也加入了他的行列。他们一起在天上的轰炸中工作，直到在千钧一发之际，雨来了，任务完成了。根据三法则，芭丝谢芭第三次被加百列拯救，在危机中表现出自己是一个完整的人：坚强、自律、直觉敏锐、无私；与他那虚弱的影子正好相反，他是芭丝谢芭的丈夫，醉醺醺地躺在谷仓里。
Her next, much more catastrophic mistake comes with the arrival in the neigh-bourhood of the dashing philanderer Sergeant Troy. Swept off her feet by his ‘dark masculine’ charms, Bathsheba stumbles recklessly into marriage. On the night of the great party to celebrate their wedding and the bringing in of the harvest, only Gabriel observes the approach of a storm. The entire harvest, piled in unprotected ricks, is in danger of being lost. Troy contemptuously dismisses his warnings, ordering all the womenfolk home so that he can urge on all the men into a drunken stupor. When the strange behaviour of various animals provides three successive portents that the storm is likely to be of awesome proportions, Gabriel works demonically to get the ricks covered. As the first lightning flashes appear, he is joined by Bathsheba. Together they work on through the heavenly bombardment until, in the nick of time, just as the rain arrives, the task is complete. For a third time, by the Rule of Three, Bathsheba has been saved by Gabriel showing himself in a crisis to be a whole man: strong, disciplined, intuitively aware, unselfish; the very opposite of his weak shadow lying drunkenly asleep in the barn, Bathsheba’s husband.
事实上，我们现在看到特洛伊警官到底是一个多么黑暗的人物，他冷酷无情地对待范妮·罗宾，范妮·罗宾是他答应娶的一个虚弱、不幸的乡村女孩，她生了他的孩子，但他残酷地抛弃了她，让她靠芭丝谢芭为生。这婴儿的阿尼玛-人物是哈代的第一个“受迫害的少女”。故事以戏剧性的渐强走向高潮。无能的特洛伊开始赌博输光妻子的钱。被拒绝的范妮病入膏肓，连夜爬行，带着她的孩子死在济贫院的台阶上。当她的尸体被运回村里埋葬时，它被带到芭丝谢芭的家里过夜，从棺材里看到两具尸体，她发现了她丈夫的可怕秘密。特洛伊在死亡中心烦意乱地表现出了他生前未能表现出的对婴儿阿尼玛的所有爱。他从家里消失，游到外面海并被视为死亡。最终，农夫伯德伍德在破碎的状态下仍然梦想着有一天他可能会赢得芭丝谢芭的芳心，他举办了一场圣诞晚会，并邀请她作为贵宾参加。在庆祝活动进行期间，一位神秘的陌生人乔装打扮而来。这是特洛伊的黑暗人物，前来认领他惊恐的妻子。伯德伍德开枪射杀了他，并被判处绞刑，尽管在最后一刻被改判为无期徒刑。
Indeed we now see just what a dark figure Sergeant Troy truly is, in his callous treatment of Fanny Robin, the frail, unhappy village girl he has promised to marry, who has borne his child and whom he has cruelly abandoned to live off Bathsheba. This infantile anima-figure is Hardy’s first ‘persecuted maiden’. The story moves in melodramatic crescendo towards its climax. The feckless Troy begins to gamble away his wife’s money. The rejected, desperately ill Fanny crawls through the night to die, with her baby, on the steps of the workhouse. When her body is returned for burial in the village, it is brought to lie overnight in Bathsheba’s house and, from looking into the coffin to see the two corpses, she discovers her husband’s dreadful secret. Troy distractedly exhibits in death all the love towards the infantile anima he had failed to show in life. He disappears from home, swims out to sea and is taken to be dead. Eventually Farmer Boldwood, still dreaming in his broken state that he may one day win Bathsheba’s hand, throws a Christmas party, to which she is invited as honoured guest. In the middle of the festivities, a mysterious stranger arrives in disguise. It is the dark figure of Troy, come to lay claim to his horrified wife. Boldwood shoots him and is sentenced to be hanged, although at the last minute this is commuted to life imprisonment.
芭丝谢芭对所发生的一切感到心碎，几个月来与世隔绝，几乎不说话。当第二年夏天她开始再次冒险时，她遇到了加布里埃尔，加布里埃尔告诉她他将不得不辞掉她的工作。生活中她完全依赖的一个可靠人物即将失去，这在故事一开始似乎是不可想象的。她终于被驯服了；她内心的女性气质完全变得柔和，就像彼特鲁乔笔下的凯瑟琳娜，或者奈特利先生笔下的艾玛一样。人们逐渐认识到，她只希望嫁给加布里埃尔，一个诚实、真实、无私的男人，一直以来，他都像以他名字命名的树一样坚定地支持着她。故事的结尾是这对恩爱夫妻从教堂回来时受到乡村音乐家合唱团的热烈欢迎，他们演奏的古老乐器与一个半世纪前庆祝马尔堡胜利的乐器相同。男女主人公不仅在彼此身上找到了完整：他们与多塞特郡乡村的永恒世界融为一体，在那里他们的新生活开始了。
Shattered by all that has happened, Bathsheba spends months withdrawn from the world, scarcely speaking. When the following summer she begins to venture out again, she encounters Gabriel, who tells her he will have to leave her employ. The threatened loss of the one solid figure in her life on whom she has come totally to depend finally works the trick which at the beginning of the story had seemed unthinkable. She has finally been tamed; softened into her inner femininity as completely as Katherina by Petruchio, or as Emma by Mr Knightley. Recognition dawns that she only wishes to be married to Gabriel, the honest, true, selfless man who has all along been as sturdy in her support as the tree whose name he bears. The story ends with the loving couple being joyfully greeted on their return from church by the chorus of rustic musicians, playing the same ancient instruments which had celebrated the victories of Marlborough a century and a half before. Not only have hero and heroine found wholeness in each other: they are united with the timeless world of the Dorset countryside where their new life can begin.
瓦解：第一阶段
Disintegration: The first stage
在为他的男子气概的英雄带来如此胜利的幸福结局时，我们可能会认为哈代正在想象他自己想要成为的那种人：一个与自然环境和每一种令人钦佩的人类品质融为一体的乡下人。但从完成小说到出版，哈代经历了他一生中最戏剧性的分水岭。现在他与艾玛订婚了，他从多塞特郡搬到了伦敦。在这里，在他的新编辑莱斯利·斯蒂芬周围的文学圈子里，他遇到了各种聪明、活泼、自由的年轻女性，其中包括他的插画家海伦·帕特森，他对她如此着迷，以至于即使在他生命的最后一刻，他仍然想知道自己是否应该娶她。他突然切断了与他成长的世界的所有联系（没有邀请他的家人参加他的婚礼）。然而，尽管他的新生活令人兴奋不已，但他远没有在外面的世界中找到任何东西来弥补他所留下的世界的简单确定性。突然间，他失去了宗教信仰。甚至在结婚之前，他就已经开始担心自己本可以为自己选择比天真、乡巴佬艾玛·拉维尼娅更好的选择。正如吉廷斯对奥克被芭丝谢芭接受的评论所言：“从那时起，哈代英雄中再也没有人能有如此确定和幸福的结局。” 从这一刻起，这位悲惨而失败的英雄永远出现在哈代的小说中。他已经开始担心自己可能会为自己做出比天真、乡巴佬艾玛·拉维尼娅更好的选择。正如吉廷斯对奥克被芭丝谢芭接受的评论所言：“从那时起，哈代英雄中再也没有人能有如此确定和幸福的结局。” 从这一刻起，这位悲惨而失败的英雄永远出现在哈代的小说中。他已经开始担心自己可能会为自己做出比天真、乡巴佬艾玛·拉维尼娅更好的选择。正如吉廷斯对奥克被芭丝谢芭接受的评论所言：“从那时起，哈代英雄中再也没有人能有如此确定和幸福的结局。” 从这一刻起，这位悲惨而失败的英雄永远出现在哈代的小说中。
In bringing his manly hero to such a triumphant happy ending, we might think Hardy was imagining the kind of man he would like to have been himself: a countryman at one with his natural surroundings and with every admirable human quality. But between completing the novel and its publication, Hardy went through the most dramatic watershed of his life. Now engaged to be married to Emma, he moved away from Dorset and up to London. Here, in the literary circle around his new editor Leslie Stephen, he met various intelligent, lively, liberated young women, including his illustrator Helen Paterson, with whom he was so taken that even at the end of his life he was still wondering whether he should have married her. He abruptly severed all links with the world of his upbringing (no member of his family was invited to his wedding). Yet for all the heady excitements of his new life, he was far from finding anything in the outside world to compensate for the simple certainties of the world he had left behind. Quite suddenly he lost his religious faith. Even before his marriage, he was already beginning to be haunted by the possibility that he could have chosen better for himself than the naive, provincial Emma Lavinia. And as Gittings observes of Oak’s acceptance by Bathsheba: ‘no Hardy hero from that time onwards ever comes to such an assured and happy ending. From this moment on, the tragic and defeated hero arrives in Hardy’s novels for good.’
1876 年，哈代带着艾玛回到了多塞特郡：不是过着简单的农民生活，而是住在斯特明斯特牛顿小镇的一栋新的中产阶级红砖别墅里，远离家人。回到家乡激发了他的灵感写《原住民的归来》，描述流浪者克莱姆·约布赖特如何从巴黎的复杂世界返回，试图在埃格登荒原的伟大荒野上重新发现他的根源。但这种尝试并没有奏效。模具已经坏了。从开头的一段开始，这本书就充满了越来越浓的黑暗，通常是一种真正的黑暗，就像所有发生在夜间或黄昏的场景一样，这在哈代的写作中是相当新的。
In 1876 Hardy returned with Emma to Dorset: not to the simple life of a peasant, but to live in a new, middle-class, red-brick villa in the little town of Sturminster Newton, far apart from his family. His return to his native county inspired him to write The Return of the Native, describing how the wanderer Clym Yeobright returns from the sophisticated world of Paris to try to rediscover his roots on the great wilderness of Egdon Heath. But the attempt does not work. The mould has been broken. From its opening paragraph the book is shot through with a gathering darkness, often a quite literal darkness, as in all the scenes which take place at night or in twilight, which is quite new in Hardy’s writing.
故事从四个主要角色开始，两个男性，两个女性。这两个人之间的对比与《远离尘嚣》中两个主要男性角色之间的对比没有什么不同。迪戈里·维恩和奥克一样，坚强、善良、自给自足、孤独。达蒙·维尔德夫和特洛伊中士一样，都是一个阴暗、无情的花花公子。同样，焦躁不安、神经质的尤斯塔西娅·维伊渴望逃离这个令人窒息的乡村死水，她与温柔、被动的托马辛·约布赖特形成了强烈的对立面，就像芭丝谢芭对婴儿阿尼玛的影响一样。小范妮·罗宾的身影。随着故事的展开，维尔德夫一直与游苔莎有一段秘密的恋情，而红土人维恩则在荒野中神秘地走动，对托马辛产生了一种无可救药的爱。但是，为了伤害游苔莎，维尔德一时任性，向托马辛求爱并与他结婚。带着所有压抑的情感和潜在的误解，这就像一部特别黑色喜剧的开始。而导致故事走向黑色结局的导火索是托马辛的表弟克莱姆·约布赖特（Clym Yeobright）在巴黎（哈代在那里度过了蜜月）几年后回到了健康的地方。
The story begins with four main characters, two masculine, two feminine. The contrast between the two men is not unlike that between the two central male characters in Far from the Madding Crowd. Diggory Venn, like Oak, is strong, good-hearted, self-contained and solitary. Damon Wildeve is as much a dark, heartless philanderer as Sergeant Troy. Similarly the restless, neurotic Eustacia Vye, longing to escape from this suffocating rural backwater, is as much a forceful opposite to the gentle, passive Thomasin Yeobright as Bathsheba had been to the infantile anima figure of little Fanny Robin. As the narrative opens Wildeve has been carrying on a secret affair with Eustacia, while Venn, the reddleman, moves mysteriously about the heath, nurturing a hopeless love for Thomasin. But, in a fit of caprice, to hurt Eustacia, Wildeve woos and marries Thomasin himself. With all its pent-up emotion and potential misunderstandings, it is like the start of a particularly black comedy. And the trigger for it to unfold to its black conclusion is the return to the heath of Thomasin’s cousin Clym Yeobright, after several years in Paris (where Hardy had spent his honeymoon).
尤斯塔西娅因情人与托马辛的婚姻而深受伤害，她把目光投向了这位新人，希望他能带她离开这个幽闭恐怖的小世界，回到巴黎。令他的母亲感到恐惧的是，他们和哈代的母亲一样意志坚强、教条主义，他们结婚了。但克莱姆没有表现出任何想要离开荒原的迹象，并且由于他的视力衰退，他成为了一名卑微的割麦草者。婚姻开始瓦解，游苔莎诱惑她恢复与维尔德的秘密恋情。当克莱姆的母亲在徒劳地试图使儿子和妻子之间实现和解的一系列误会之后，筋疲力尽并死于心脏病，这引发了一场高潮灾难，两个“黑暗”恋人在一个暴风雨的夜晚尝试着尝试。私奔并被淹死。弱者，
Desperately wounded by her lover’s marriage to Thomasin, Eustacia sets her sights on the newcomer, hoping he will sweep her away from this claustrophobic little world back to Paris. To the horror of his mother, as strong-minded and dogmatic as Hardy’s own, they get married. But Clym shows no sign of wanting to leave the heath and, as his eyesight fails, becomes a humble furze-cutter. The marriage begins to disintegrate, tempting Eustacia to resume her secret affair with Wildeve. When Clym’s mother, after a sequence of misunderstandings in vainly trying to bring about a reconciliation between her son and his wife, exhausts herself and dies of a heart attack, this precipitates the climactic catastrophe in which the two ‘dark’ lovers try one stormy night to elope and are swept to their deaths by drowning. The weak, mother-dominated Yeobright is left motherless, wifeless and alone, to wander the countryside as an eccentric preacher.
至少这个故事似乎有一个部分幸福的结局，因为两个“根深蒂固”的角色迪戈里·维恩和托马辛·约布赖特最终结婚了。但哈代告诉我们，即便如此，也不是他的初衷，托马辛将继续守寡，而维恩只是从荒野中神秘消失。他们的婚礼是在故事连载的最后一刻才策划的，因为哈代的出版商感到沮丧，认为他最初的结局中无法缓解的绝望可能让读者难以接受。
At least there appears to be a partial happy ending to the story, as the two ‘rooted’ characters, Diggory Venn and Thomasin Yeobright, are finally brought together in marriage. But even this, Hardy tells us, was not his original intention, whereby Thomasin was to remain a widow and Venn was simply to vanish mysteriously from the heath. Their wedding was only concocted at the last minute while the story was being serialised, because Hardy’s dismayed publishers felt the unrelieved hopelessness of his original ending might have been too much for readers to take.
瓦解：第二阶段
Disintegration: The second stage
我们在这里看到的是，哈代的小说开始遵循与我们在十九世纪多尼采蒂和威尔第的歌剧中看到的相似模式。基本情节仍然是喜剧的情节。但现在它是喜剧，没有任何认可或闯入光明。与他早期的作品相比，哈代的想象力不再包含那种以男女主角胜利地走到一起的故事。从现在开始，从他的无意识中升起的人物似乎越来越陷入一种暮色之中，与错误的男人或错误的女人致命地不匹配。在这种无法使男性和女性达到平衡的过程中，我们看到了哈代本人所出现的根本性分裂的反映。
What we see here is how Hardy’s novels were beginning to follow a similar pattern to that we saw emerging in nineteenth-century opera, with Donizetti and Verdi. The underlying plot is still that of Comedy. But now it is Comedy without any recognition or breaking in of the light. In contrast to his earlier books, Hardy’s imagination could no longer encompass the kind of story which ends in a hero and heroine being brought triumphantly together. From now on, the characters rising up from his unconscious seem increasingly trapped in a kind of twilight, fatally mismatched with the wrong man or the wrong woman. And in this inability to bring masculine and feminine into balance, we see the reflection of a fundamental split which had opened up in Hardy himself.
正如我们所看到的，故事的典型结局是男女主人公完美结合，象征着比婚姻更深层次的东西。这是人类完全融合的形象，两者在各种意义上合二为一：身体上、精神上、情感上和精神上。英雄，成为一个完全成熟的男人，终于与他的阿尼玛融为一体，人类身份中神秘的定义成分，我们称之为“灵魂”。哈代无法完全成为一个男人，因此也无法意识到自己内在的女性气质，因此无法达到这一成熟点：正如他的小说越来越多地反映的那样。每当故事中男女主人公之间出现外在的矛盾时，我们就可以肯定，主人公与他内心的女性关系出现了问题。这同样可以很好地表达作者内心正在发生的事情，而作者的无意识创造了这个角色。例如，在托尔斯泰在《安娜·卡列尼娜》中不久之后，这并非偶然。，让人想起所有最令人难忘的美丽女子自尽毁灭的肖像之一，他本应陷入一生中最深刻的精神危机。世界对他来说变得毫无意义，他想自杀，实际上他写道，他感觉自己失去了灵魂。
As we have seen, the archetypal ending of stories where a hero and heroine come together in perfect union symbolises something much deeper than just a marriage. It is the image of complete human integration, where the two become in every sense one: physically, mentally, emotionally and spiritually. The hero, become a fully mature man, is at last integrated with his anima, that mysterious defining component in human identity we call the ‘soul’. And it was precisely this point of maturity which Hardy, unable to become fully a man and therefore unable to realise his inner feminine, was unable to reach: as his fiction came increasingly to reflect. Whenever in a story there is outward trouble between a hero and heroine, we can be sure that something has gone awry in the hero’s relations with his inner feminine; and that this may equally well express what is going on inside the author whose unconscious has created that character. It was no accident, for instance, that shortly after Tolstoy had, in Anna Karenina, conjured up one of the most haunting of all portraits of a beautiful woman throwing herself to destruction, he should have entered on the most profound spiritual crisis of his life. The world had become totally meaningless to him, he wished to kill himself and actually wrote that he felt he had lost his soul.
巧合的是，就在托尔斯泰陷入这场危机的1878年和1879年，哈代本人也进入了他一生中最不幸的阶段之一。他与自己外在的“另一半”艾玛的关系急剧恶化。他们再次离开多塞特郡前往伦敦，在那里他创作了三本奇怪的虚假、肤浅的小说，这些小说可能出自不同的作者之手。然后他回到多塞特郡的多切斯特镇，在那里为自己设计了一栋相当丑陋的房子，在这里他轻松地写下了他迄今为止最惨淡的书《卡斯特桥市长》（1886）。这又是一个无根英雄试图为自己扎下新根的主题。特别是在多切斯特。但这也是一个男人对自己女性“另一半”犯下的深深的罪行，以至于永远无法弥补。
Coincidentally, the very years when Tolstoy was entering this crisis, 1878 and 1879, were also a time when Hardy himself was entering on one of the unhappiest phases of his life. His relations with his own outward ‘other half’ Emma were sharply deteriorating. They left Dorset again for London, where he produced three curiously artificial, superficial novels which might have come from a different author. He then returned to Dorset, to the town of Dorchester where he designed a rather ugly house for himself, and here he wrote easily his bleakest book to date, The Mayor of Casterbridge (1886). Again this was on the theme of a rootless hero trying to put down new roots for himself; quite specifically in Dorchester. But it was also of a man who has committed an offence against his feminine ‘other half’ so deep that it can never be expiated.
故事一开始，主人公迈克尔·亨查德在喝醉酒后夸夸其谈，实际上卖掉了他的妻子和孩子。事实证明，他这样做就出卖了自己的灵魂。起初他充满悔恨并试图弥补。他到达了遥远的小镇卡斯特布里奇（多切斯特），在那里他积累了一笔可观的财富，并成为社区的领袖人物。他甚至与他的妻子和他想象中的孩子团聚了。但他却陷入了越来越深的欺骗和自欺的泥沼之中。当他的妻子去世后，悲惨的逆转开始向他逼近。他发现他想象中的女儿，他心爱的伊丽莎白简，根本不是他的孩子。哈代是无情地展示了亨查德所建立的一切是如何逐渐被他以前的门生和合伙人唐纳德·法弗雷（Donald Farfrae）剥夺的，而现在，他已成为他的影子。他失去了他的生意、他的家、他的好名声。他输给了法弗雷，他原本希望成为他的第二任妻子。他开始酗酒，并受到各方面的羞辱。
At the beginning of the story, in a fit of drunken bragadoccio, the hero Michael Henchard actually sells his wife and child; and it turns out that, in doing so, he has sold his soul. Initially he is filled with remorse and tries to make amends. He arrives in the far-off town of Casterbridge (Dorchester), where he builds up a considerable fortune and becomes the leading citizen of the community. He is even reunited with his wife and what he imagines to be his child. But he then gets sucked into an ever deeper mire of deception and self-deception; and, when his wife dies, the tragic reversal begins to close in on him. He discovers that his imagined daughter, his beloved Elizabeth-Jane, is not his child at all. Hardy is remorseless in showing how everything Henchard has built up is gradually stripped from him by Donald Farfrae, his former protégé and partner, who has now become his shadow. He loses his business, his home, his good name. He loses to Farfrae the woman he had hoped to make his second wife. He turns to drink and is humiliated in every way.
最终他输给了法弗雷，这是他最看重的一件事；伊丽莎白·简，闪亮的阿尼玛-像他失去的妻子的重生版本一样留在他的生活中的人物。从这个意义上说，对于另一个出卖灵魂的英雄浮士德来说，她就像海伦一样是虚幻的幻象。亨察德被剥夺了他所希望的一切，他流浪到荒野中死去：作为他失去的女儿的结婚礼物，在她嫁给一个篡夺了他曾经自豪地拥有的一切的男人时，留下了一只小金翅雀，作为他失去的女儿的结婚礼物。一个笼子。最终，人们在它的“铁丝监狱”中发现了这个“小生物”，它已经死了：这是可怜的亨查德本人的灵魂已经发生的事情的外在和明显的迹象。当他们在他的尸体旁边发现他可怜的遗嘱和遗嘱时，潦草地写在一张纸片上，要求任何人都不要哀悼他的死亡，甚至记住他，其中遗失的、绝望的话语与哈代所写的任何东西一样令人毛骨悚然。书面。
Finally he loses to Farfrae the one thing he has come to prize above all else; Elizabeth-Jane, the shining anima-figure who has remained in his life like a reborn version of his lost wife. In this sense she turns out to be as illusory a vision as Helen to that other hero who had sold his soul, Faustus. Robbed of all he has ever hoped for, Henchard wanders out into the wilderness to die: leaving, as a wedding present for the daughter he has lost, at her marriage to the man who has usurped everything he once proudly owned, a little goldfinch in a cage. Eventually the ‘little creature’ is found in its ‘wire prison’, dead: an outward and visible sign of what has already happened to the soul of poor Henchard himself. And when, next to his corpse, they find his pitiful last will and testament, scrawled on a scrap of paper, asking that no one should mourn his death or even remember him, its lost, despairing words are as chilling as anything Hardy had yet written.
他的下一本书是《林地人》（1887），他回到乡村，比以往任何时候都更加鲜明地描述了质朴的、根深蒂固的世界与无根的、侵入性的外来者世界之间的两极分化。一方面是树木和生活在其中的林地居民的自然世界；尤其是贾尔斯·温特伯恩（Giles Winterborne），树中人，还有小马蒂·索思（Marty South）。另一边是软弱、虚荣的年轻埃德雷·菲茨皮尔斯所代表的世界，他的头脑里充满了实验科学的梦想；被宠坏的富有的查蒙德太太买下了大房子；还有，唉，格蕾丝·梅尔伯里，一个林地乡村女孩，她雄心勃勃的父亲把她送到外面的世界上学，并给了她超越她地位的想法，或者肯定高于任何诸如她应该嫁给贾尔斯·温特伯恩这样的荒谬想法。她从小就爱。在一场现在熟悉的错配纠葛中，格蕾丝回来嫁给菲茨皮尔斯，菲茨皮尔斯随后开始与查蒙德夫人有染，留下格蕾丝逃到温特伯恩的小屋避难，这又导致了他的死亡。吉尔斯和马蒂无私地注视着所有这些以自我为中心的混乱，就像迪戈里·维恩和托马辛·约布赖特的重演。但这一次，连他们都不可能有幸福的结局，更何况是其他人。
His next book was The Woodlanders (1887), in which he returns to the countryside to describe the polarisation between the rustic, rooted world and that of the rootless, intrusive outsiders more starkly than ever. On one hand is the natural world of the trees and the woodland folk who live among them; above all Giles Winterborne, the man of the trees, and little Marty South. On the other is the world represented by the weak, vain young Edred Fitzpiers, his head full of dreams of experimental science; by the rich, spoiled Mrs Charmond, who has taken the big house; and also, alas, by Grace Melbury, the woodland village girl whose ambitious father had sent her off to school in the outside world and given her ideas above her station, or certainly above any such absurd idea as that she should marry Giles Winterborne, whom she has loved since childhood. In a now familiar tangle of mismatches, Grace returns to marry Fitzpiers, who then begins an affair with Mrs Charmond, leaving Grace to run off for sanctuary to Winterborne’s cottage, which leads in turn to his death. Selflessly watching all this egocentric confusion, Giles and Marty are like a kind of replay of Diggory Venn and Thomasin Yeobright. But this time there can be no happy ending even for them, let alone for anyone else.
温特伯恩的死，作为哈代迷失的、根深蒂固的自我的投射，具有象征意义，是一个可怕的时刻。至少在之前的书中，死的都是无根之人，而温特伯恩的前几任化身，迪克·杜伊、加布里埃尔·奥克和迪戈里·维恩，都获得了幸福的结局。《哈代》中最感人的时刻之一是，只有在贾尔斯死后，格蕾丝·梅尔伯里才意识到，一直以来都是普通的小马蒂·南，头发被剪掉了，他才是贾尔斯真正的伴侣：“你和他可以用一种没有人知道的语言说话……树木、水果和花朵本身的语言”。那，以及马蒂在贾尔斯坟墓前的最后告别（“不，不，我的爱人，我永远不会忘记‘ee;因为你是一个好人，做了好事’）是哈代为他永远失去的本能世界写的挽歌,
The death of Winterborne, as a projection of Hardy’s own lost, rooted self, is symbolically a terrible moment. At least in the previous books it had been only the rootless ones who died, while Winterborne’s previous incarnations, Dick Dewy, Gabriel Oak and Diggory Venn, had each come to a happy ending. One of the most moving moments in all Hardy is that where Grace Melbury realises, only after Giles is dead, that it had all along been plain little Marty South, with her hair shorn off, who was Giles’s true mate: ‘You and he could speak in a tongue that nobody else knew ... the tongue of the trees and fruits and flowers themselves’. That, and Marty’s final farewell over Giles’s grave (‘No, no, my love, I can never forget ‘ee; for you was a good man, and did good things’) are Hardy’s elegy for the instinctive world he had lost for ever, where man is at one with nature and faith is the knowledge of that fact.
解体：最后阶段
Disintegration: The final stage
随着哈代的小说系列接近尾声，有趣的是，他们的情绪变化如何反映了幻想周期的模式。从《青林树下》的青春“期待阶段”开始，到《远离喧嚣》的最终想象幸福的“梦想阶段” 。他们经历了《还乡》中的“挫折阶段”，一直到《卡斯特布里奇市长》和《林地人》的噩梦不断。现在，他们将在两个最可怕的自我揭露中达到顶峰。
As the sequence of Hardy’s novels neared its conclusion, it is interesting to note how their changing mood had reflected the pattern of the fantasy cycle. Having begun with the youthful ‘anticipation stage’ of Under the Greenwood Tree, they had continued with a ‘dream stage’ in the eventual imagined happiness of Far from the Madding Crowd. They had worked up through the ‘frustration stage’ of The Return of the Native to the gathering nightmare of The Mayor of Casterbridge and The Woodlanders. Now they were to culminate in the two most terrible self-revelations of all.
德伯家的苔丝(1888)，副标题为《纯洁的女人》，是哈代的主要小说中唯一一部以女英雄而不是英雄的命运为中心的小说。苔丝·德北菲尔德 (Tess Durbeyfield) 是一位美丽的乡村女孩，来自多塞特郡一个贫穷而简朴的家庭，她被父亲讲述的自己属于一个伟大而古老的家庭的故事所迷惑。走出家门后，她先后成为两个社会上层男人的牺牲品：“黑暗男性”诱惑者亚历克·德伯维尔和软弱、道德主义、虚伪的安吉尔·克莱尔，在不同方面，她与他们是如此致命的不匹配。我们以前见过这两种类型，比如掠夺性的特洛伊/维尔德夫人物和宗教人物克林·约布赖特。但现在没有像加布里埃尔·奥克那样坚强、善良的男性人物来为他们的黑暗提供“光明”对比。随着温特伯恩的去世，他终于从哈代的内心世界中消失了。现在，对于苔丝来说，
Tess of the D’Urbervilles (1888), subtitled A Pure Woman, was the only one of Hardy’s major novels to centre round the fate of a heroine rather than a hero. Tess Durbeyfield, a beautiful country girl from a poor and simple Dorset home, becomes bewitched by her father’s story that she belongs to a great and ancient family. Going out into the world, she successively falls prey to the two socially superior men, the ‘dark masculine’ seducer Alec D’Urberville and the weak, moralistic, hypocritical Angel Clare, with whom, in different ways, she is so fatally mismatched. We have seen both these types before, in the predatory Troy/Wildeve figure and the religiose Clym Yeobright. But now there is no strong, good-hearted, male figure, like Gabriel Oak, to provide ‘light’ contrast to their darkness. He has finally dropped out of Hardy’s inner landscape with the death of Winterborne. Now, for Tess, there is nothing left but these two oppressive dark male opposites competing to destroy her: until the nightmare finally becomes so intense that she is driven to murder the cruel monster who was originally responsible for her downfall and is hanged for the crime.
毫不奇怪，苔丝是哈代自己最喜欢的角色，因为她确实是他内心女性气质的最深刻的投射。一旦我们从这个角度看待她，她的故事就会变得更加令人心酸。我们看到苔丝，“受迫害的少女”，哈代的阿尼玛盲目而心烦意乱地在多塞特郡乡村的荒凉和荒凉中徘徊，寻找一个家和一个安息之所，在那里她可能会完整，但最终她遭受了如此严重的折磨，以至于她杀人又被杀。用哈代在书的结尾处经常被引用的一句话来说，“不朽的总统”已经“结束了与苔丝的游戏”。但当然，真正操纵苔丝从一个不可能的巧合到下一个巧合、无情地将对她不利的可能性增加到如此致命的结论的真正力量并不是某个复仇的神灵，也不是无神论者哈代不再相信的神灵。这是哈代本人。即使在故事中，我们也很容易在这两个男人身上看到哈代的一面，他们配不上她，使她成为受害者。德伯维尔是那个反复出现的、无情的掠夺者，代表着他未实现的男子气概的阴影。安吉尔·克莱尔（Angel Clare）是一个软弱、高尚的进步派，这首先在约布赖特身上有所体现，他与哈代本人年轻时的形象相呼应。哈代无意识地记录下的故事无异于他自己灵魂的窒息。
It is not surprising that Tess was Hardy’s own favourite character, for she really was the deepest projection of all of his own inner feminine. And once we see her in that light, how even more poignant does her story become. We see Tess, the ‘persecuted maiden’, Hardy’s anima, wandering blindly and distractedly across the face of an ever bleaker and more inhospitable Dorset countryside, looking for a home and a resting place where she might be whole, but eventually so tortured that she kills and is killed. In Hardy’s oft-quoted phrase at the close of the book, ‘the President of the Immortals’ had ‘ended his sport with Tess’. But of course the real power manipulating Tess from one improbable coincidence to the next, remorselessly stacking up the odds against her to such deadly conclusion, was not some vengeful deity, that God in whom the atheist Hardy no longer believed. It was Hardy himself. Even in the story we can only too easily see aspects of Hardy in both the men, unworthy of her, who make her their victim. D’Urberville is that recurring, heartless predator who represents the shadow of his unrealised masculinity. Angel Clare is the weak, high-minded progressive, first foreshadowed in Yeobright, who echoes what Hardy himself had been in his own youth. The story Hardy was unconsciously recording was nothing less than that of the stifling of his own soul.
他的最后一部重要小说《无名的裘德》（1895 年）是对他在短短 20 多年里写出的一系列故事的一个恰当的总结，因为它没有更多的内容。而不是无意识的精神自传。它是唯一一处几乎完全远离多塞特郡的地方。但我们一开始在伯克郡的一个小村庄遇到的那个热切自强、有着坚定宗教信仰的年轻乡村男孩身上，不难看出30年前年轻的哈代的影子。裘德·福利 (Jude Fawley) 的伟大抱负是前往在地平线上闪耀的大学城基督敏斯特 (牛津)：在那里，他能够在学者和才华横溢的人士的陪伴下充分实现自己的目标，就像哈代本人年轻时也曾梦想过。但在前往遥远城市的路上，与哈代自己生活中发生的事情相呼应，他愚蠢地被引诱与一个粗鄙、愚蠢的女孩结婚，而这个女孩根本无法达到他崇高的精神抱负。阿拉贝拉抛弃了他，
His last major novel, Jude the Obscure (1895), was a fitting conclusion to the sequence of stories he had written in just over 20 years, because it was little more than an unconscious spiritual autobiography. It is the only one to be set almost entirely away from Dorset. But in the eagerly self-improving young country boy, of firm religious faith, whom we meet at the beginning in a little Berkshire village, it is not difficult to see the young Hardy of 30 years before. Jude Fawley’s great ambition is to journey to the university city of Christminster (Oxford), shining on the horizon: the place where he would be able to realise himself to the full, in the company of scholars and men of intellect and distinction, just as Hardy himself had dreamed of when he was young. But on his way to the distant city, in an echo of what happened in Hardy’s own life, he foolishly gets lured into marriage with a gross, stupid girl who in no way measures up to his lofty spiritual aspirations. Arabella abandons him, and he meets his soulmate Sue Bridehead, an idealised version of one of those liberated young women who had so taken Hardy’s fancy in the London of the 1870s, when he was already engaged to his future wife.
从那时起，裘德的故事就充满了痛苦和幻灭。虽然他已经到达了基督敏斯特，但这并没有达到他理想中的期望。在似乎赢得了他一生的挚爱苏之后，她成为了一个难以捉摸的阿尼玛，再次从他身边溜走，嫁给了他的学术导师菲利普森。他再次赢回了她，他们有了两个孩子。但就在裘德对他和苏现在可以继续在一起抱有最后一刻的希望时，这种希望却被哈代最后几部小说中最后一个可怕的、具有内在象征意义的时刻打破了。裘德与阿拉贝拉的小儿子“老父亲时间”刺伤了两个婴儿，然后上吊自杀，留下了“结束了，因为我们太善良了”的信息。这是最后的灾难：哈代本人从未有过的孩子的死亡。裘德最后一次被苏抛弃，他在酒精的迷雾中迷失了自己。他被迫与满身疮痍的阿拉贝拉一起过着贫困的生活，在30岁之前，在可以想象到的最陌生的环境中孤独、悲惨地死去。
From then on Jude’s story is one of growing agony and disillusionment. Although he has arrived in Christminster, it in no way lives up to his idealised expectations. After seeming to have won Sue, the love of his life, she then, as an elusive anima, slips away from him again, to marry his academic mentor Phillipson. He wins her back again and they have two children. But just when Jude has a last moment of hope that he and Sue might now remain together, this is shattered by the last of those horrendous, inwardly symbolic moments which chequer Hardy’s last novels. Jude’s young son by Arabella, ‘Old Father Time’, stabs the two babies, then hangs himself, leaving the message ‘Done because we are too menny’. It is the final catastrophe: the death of the children Hardy himself never had. Abandoned by Sue for the last time, Jude loses himself in an alcoholic haze. He is drawn back to live in poverty with the raddled Arabella and, before reaching the age of 30, dies a lonely, miserable death, amid the most alien surroundings imaginable.
《裘德》一出版就引起轩然大波。一位评论家将其描述为“淫秽的裘德”，并谴责其“不雅”、“堕落”和“虚无主义”。到目前为止，哈代与他的根源和他成长的世界已经完全疏远，以至于当他骑自行车穿过多切斯特郊外的村庄时，他的许多亲戚都居住在那里，他们挤在小屋门口向这位伟人挥手致意，他冷漠地凝视着前方并继续骑行。关于这本书的争吵也标志着他与日益福音派和保守的艾玛·拉维尼亚（Emma Lavinia）（她在给报纸《一位老式英国女人》的信件上署名）的最终疏远。他唯一的安慰在于对伦敦时尚女士一系列荒谬的迷恋，这些女士是像亨尼克夫人和阿格尼丝·格罗夫这样的未来作家。场景设定在他生命的最后30年，
When Jude was published it provoked uproar. Described by one reviewer as ‘Jude the Obscene’, it was castigated as ‘indecent’ ‘degenerate’ and ‘nihilistic’. By now Hardy’s outward estrangement from his roots and the world of his upbringing was so complete that when he bicycled through the village outside Dorchester where many of his relatives lived and they crowded to their cottage doors to wave to the great man, he stared stonily ahead and cycled on. The row over the book also marked his final estrangement from the increasingly evangelical and strait-laced Emma Lavinia (who signed letters to the papers ‘An Old-Fashioned Englishwoman’). His only solace lay in an absurd series of infatuations with fashionable ladies up in London, would-be writers like Mrs Henniker and Agnes Grove. The scene was set for the last 30 years of his life, dominated creatively by that great flood of poems of nostalgia and loss which reached its climax after Emma’s miserable and painful death in 1912: poems in which he sought to recapture that contact with the feminine which had proved so elusive through his life, and whose presence, as in Sergeant Troy’s outpouring of grief over the corpse of Fanny Robin, never seemed so real to him as in death.
哈代晚年的另一项伟大任务是试图通过他向第二任妻子弗洛伦斯口述的传记来塑造他希望世界看到的自己的形象；例如，他在其中描绘了他的父亲，不真实，同样不负责任，他自己就像一个儿子，他单枪匹马地恢复了一个曾经重要的多塞特家族的命运，但这个家族却长期衰落。这个练习是为了完善他的形象是徒劳的：部分是因为，尽管他努力抹去它们，但关于他父亲、他的家庭和他的生活的足够的外在事实仍然存在，让我们能够看到这本传记呈现出一幅多么悲伤、以自我为中心的漫画；部分原因是他在小说和诗歌中留下了关于他真实内心生活的如此光辉的记录。花费如此多的时间在这样的假装上，很难说是一个对自己和世界感到自在的人的标志。或者是一个真正接受了他投射到小说中的所有人格分裂成分的人。最终，对于哈代的一生来说，没有比这位伟人遗体在 1928 年去世时的可怕命运更贴切的墓志铭了。他的火化遗体被安葬在威斯敏斯特教堂，气氛空荡荡。就像他在大世界的生命，早已化为灰烬。他的心被送回埋葬在他长大的多塞特郡：他的心和他的灵魂，他未实现的内在女性气质，从未真正离开过的地方。
The other great task of Hardy’s last years was the attempt to build up, through the biography he dictated to his second wife Florence, the picture of himself he wanted the world to see; in which, for instance, he portrayed his father, quite untruthfully, as feckless, and himself as the son who had single-handedly restored the fortunes of a once-important Dorset family, long in decline. This exercise in polishing up his persona was futile: partly because, despite his efforts to erase them, sufficient of the external facts about his father, his family and his life have survived for us to be able to see just what a sad, self-centred caricature the biography presented; and partly because he had left such a luminous record of his true inner life in the novels and poems. To devote so much time to such a pretence was hardly the sign of a man at ease with himself and the world; or of a man who had ever really come to terms with all those disintegrated components of his personality he had projected into his novels. Ultimately there was no apter epitaph on Hardy’s life than the gruesome fate of the great man’s mortal remains when he died in 1928. His cremated body was interred amid empty pomp in Westminster Abbey, just as his life out in the great world had long since turned to ashes. His heart was returned to be buried in Dorset where he had grown up: to the place his heart and his soul, his unrealised inner feminine, had never really left.
托马斯·哈代的小说反映了他的内心世界逐渐瓦解的方式，为我们提供了一幅特别生动的画面，展示了十九世纪和二十世纪初整个西方世界更普遍发生的过程。随着科学技术的进步，欧洲和美国以更快的速度走向现代世界，随着数以亿计的人从农村进入新兴工业化城市，随着古老的生活方式消失，随着社会等级制度开始瓦解，旧的宗教和道德形式开始瓦解，人们以前所未有的规模与那个赋予他们外在和内在认同感的框架失去联系。从心理学的角度来说，他们正在失去与许多帮助人类生存扎根于自我的东西的联系。我们在故事中看到的反映是随后发生的事情的完美模型，因为自我越来越凸显出来。
The way in which the gradual disintegration of Thomas Hardy’s inner world was reflected in his novels gives us a particularly vivid picture of a process which was more generally taking place all over the Western world in the nineteenth and early twentieth centuries. As Europe and America were carried by the advance of science and technology ever faster towards the modern world, as hundreds of millions moved from the countryside into the newly industrialised cities, as ancient ways of life vanished, as social hierarchies began to break down, as old forms of religion and morality began to dissolve, people were losing touch on an unprecedented scale with that framework which had given them so much of their sense of outward and inward identity. In psychological terms, they were losing contact with much of that which had helped root human existence in the Self. What we see reflected in stories is a perfect model of what then happens, as the ego comes increasingly to the fore.
在接下来的两章中，我们将探讨过去百年的故事讲述反映自我与自我之间这种分裂的两种最具启发性的方式。第一个，正如我们将在契诃夫和普鲁斯特、皮兰德娄和塞缪尔·贝克特等二十世纪讲故事的人的作品中看到的那样，一旦分裂发生，自我最终会达到一个毫无意义的地步。属于比自身更伟大的事物。我们看到，事实上，自我的框架最终赋予了人类生命结构感、意义和目的；一旦失去了与它的联系，孤立的自我最终会面临着黑暗而空虚的空虚。
In the next two chapters we shall look at two of the most revealing ways in which the storytelling of the past hundred years has reflected this split between Self and ego. The first of these, as we shall see in the works of such twentieth-century storytellers as Chekhov and Proust, Pirandello and Samuel Beckett, is how, once the split has taken place, the ego eventually comes to a point where it has no sense of belonging to anything greater than itself. We see how it is in fact the framework of the Self which ultimately gives human life its sense of structure, meaning and purpose; and how, once contact with that is lost, the isolated ego is at last left facing nothing but a dark and empty void.
第二十六章 无处可去：被动的自我
二十世纪的死胡同——从契诃夫到亲密接触
Chapter Twenty-Six Going Nowhere: The Passive Ego
The Twentieth-Century Dead End – From Chekhov to Close Encounters
“所有这些聪明的人都那么愚蠢，我没有人可以说话。我很孤独，总是那么孤独，没有人属于我，而且……我是谁，我存在的目的是什么，没有人知道。
‘All these clever people are so stupid, I have no one to talk to. I am so lonely, always so lonely, no one belongs to me, and ... who I am, what I exist for, nobody knows.’
契诃夫《樱桃园》中的夏洛塔
Charlotta, in Chekhov’s The Cherry Orchard
“一个人不知道，也永远不会知道；一个人拼命地在梦想的虚幻碎片中寻找……一种被与自己没有联系的人所笼罩的生活，充满了记忆的缺失、空白、徒劳的焦虑，一种像梦一样虚幻的生活。
‘One does not know, and one will never know; one searches desperately among the unsubstantial fragments of a dream ... a life hagridden by people who have no connection with one, full of lapses of memory, gaps, vain anxieties, a life as illusory as a dream.’
马塞尔·普鲁斯特《俘虏》《追忆似水年华》
Marcel Proust, The Captive, À La Recherche du Temps Perdu
“我不知道我在哪里，我永远不会知道，在你不知道的沉默中，你必须继续前进，我不能继续下去，我会继续下去。”
‘Where I am I don’t know, I’ll never know, in the silence you don’t know, you must go on, I can’t go on, I’ll go on.’
塞缪尔·贝克特、马龙去世
Samuel Beckett, Malone Dies
”弗拉基米尔：嗯？我们走吧？
爱斯特拉冈：是的，我们走吧。
（他们不动）。
窗帘。'
‘Vladimir: Well? Shall we go?
Estragon: Yes, let’s go.
(They do not move).
CURTAIN.’
塞缪尔·贝克特《等待戈多》结束
Samuel Beckett, end of Waiting for Godot
“盖茨比相信绿灯，相信狂欢的未来在我们面前年复一年地退去。当时我们没有意识到这一点，但没关系。明天我们会跑得更快，手臂会伸得更远……所以我们逆水行舟，不断地回到过去。
‘Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but no matter. Tomorrow we will run faster, stretch out our arms further ... so we beat on, boats against the current, borne back ceaselessly into the past.’
斯科特·菲茨杰拉德， 《了不起的盖茨比》的结尾
Scott Fitzgerald, end of The Great Gatsby
在本章和下一章中，我们将探讨二十世纪故事本质上发生的两件最重要的事情。每一个都以自己的方式表达了自浪漫主义诞生以来讲故事中发生的深刻心理转变的自然结果。
In this chapter and the next we shall be looking at two of the most significant things which happened to the nature of stories in the twentieth century. Each of these in its own way expressed a natural consequence of that profound psychological shift which had been taking place in storytelling since the dawn of Romanticism.
下一章的主题是，特别是在本世纪最后几十年，电影、戏剧和小说如何变得如此痴迷于性和暴力的图像。但在此之前，我们必须首先考虑现代讲故事的另一种发展，虽然不那么明显，但同样具有启发性。这就是二十世纪许多剧作家、小说家和电影制片人的作品似乎表达的一种方式，即已到达一种宇宙和精神的死胡同。
One, which will be the theme of the next chapter, was how, particularly in the century’s closing decades, films, plays and novels became so obsessively preoccupied with images of sex and violence. But before we come to that we must first consider another development in modern storytelling which, although less blatant, was equally revealing. This was the way in which the works of so many twentieth-century playwrights, novelists and film-makers seemed to express the sense of having arrived at a kind of cosmic and spiritual dead end.
关于此类故事，没有比一部戏剧更著名的例子了，该剧于本世纪中叶在巴黎的一家小剧院首次上演，两年后在伦敦再次获得更大的好评：这部戏剧如此不寻常，以至于立即得到认可在讲故事的历史上是相当新的事情。这尤其是因为《等待戈多》（1953）几乎没有故事。两个流浪汉在路边等待一个名叫戈多的神秘人物的到来。最后又有两个人来了，一个人像野兽一样驱赶着另一个人。经过一番交流后，新人继续前行。第二幕或多或少与第一幕相呼应。最后，两个流浪汉仍然徒劳地等待着难以捉摸的戈多，但戈多始终没有出现。
There was no more celebrated instance of this kind of story than a play which was first staged in a tiny theatre in Paris midway through the century, and again to even greater acclaim in London two years later: a drama so unusual that it was immediately recognised as something quite new in the history of storytelling. This was not least because Waiting for Godot (1953) had virtually no story. Two tramps are waiting by the side of a road for the promised arrival of a mysterious character called Godot. Eventually two more men arrive, one driving the other in front of him like an animal. After a series of exchanges, the newcomers then move on. A second act more or less echoes the first. At the end the two tramps are still waiting in vain for the elusive Godot, who never appears.
但是，要了解十九世纪故事发生的这种变化如何最终导致塞缪尔·贝克特的地狱世界，我们必须首先回顾半个世纪前一位剧作家的作品。
But to see how that change which had come over stories in the nineteenth century was eventually to lead to the limbo world of Samuel Beckett, we must first go back to the work of a dramatist who had been writing half a century earlier.
安东·契诃夫：自我的消失
Anton Chekhov: The disappearance of the Self
就在托马斯·哈代在英国的小说家生涯即将结束时，欧洲另一端的一位年轻医生正在着手创作一系列戏剧，从心理上讲，这些戏剧将把讲故事带入其发展的新阶段。在安东·契诃夫 (Anton Chekhov) 1887 年至 1904 年因肺结核英年早逝期间创作的五部主要戏剧中，我们所看到的每一部都是俄罗斯偏远地区的一小群人，他们无处可去。他们被困在一个充满挫败感和徒劳的特殊网络中。他的几乎所有角色都是由对不存在的东西的渴望来定义的。如果他们还年轻，他们就会梦想着一个想象中的未来，那里的生活会以某种方式变得更好。到了中年或老年，他们会回想起自己失去的东西：爱情、生命、青春的热情和活力。除了这种虚假的希望变成幻灭和绝望的循环之外，没有什么其他的了。每次我们都会看到他们走向最后令人震惊的事件，这让我们意识到他们的生活变得多么绝望和空虚。
Just when Thomas Hardy was nearing the end of his career as a novelist in England, a young doctor at the other end of Europe was embarking on a sequence of plays which, psychologically, were to take storytelling into a new phase of its evolution. What we see in each of the five major plays written by Anton Chekhov between 1887 and his early death from tuberculosis in 1904 is a little group of people, somewhere in provincial Russia, who are going nowhere. They are trapped in a peculiar web of frustration and futility. Almost all his characters are defined by their yearning for something which does not exist. If they are young, they are dreaming of an imaginary future where life will somehow be better. By the time they are middle-aged or old, they are harking back to something they have lost: love, life, the enthusiasms and energy of youth. Away from this cycle of false hope souring into disillusionment and despair there is little else. And each time we then see them drifting towards a final shocking event which brings home just how hopeless and empty their lives have become.
第一个序列是《伊万诺夫》 （ Ivanov，1887），以一位陷入我们所谓的中年危机深渊的中年地主为中心。他浪费了自己所有的才能、精力、希望和金钱。他对周围的一切感到无聊和恼怒，但也同样讨厌自己，因为他总是“脾气暴躁、粗鲁和心胸狭隘”。他曾经爱过他的妻子安娜。她回忆起他们第一次见面时，“当他充满激情地说话时，他的眼睛就像燃烧的煤炭一样发光”。但不再是了。现在，当他得知她患有结核病时，这个消息让他感到很冷。正如年轻医生利沃夫直言不讳地告诉他的那样，他已经沦落到一种除了“无情的自我主义”之外一无所有的状态。
The first of the sequence, Ivanov (1887), centres on a middle-aged landowner in the depths of what we would call a mid-life crisis. He has frittered away all his talents, energy, hopes and money. He is bored and irritated by all around him, but hates himself just as much, for being constantly ‘bad-tempered, rude and petty-minded’. He did once love his wife Anna. She recalls how, when they first met, his ‘eyes used to glow like burning coals when he talked with passion’. But no longer. Now, when he learns she is ill with TB, the news leaves him cold. As the young doctor Lvov bluntly tells him, he has been reduced to a state of nothing but ‘heartless egotism’.
故事开始于伊万诺夫拜访他的邻居，他们的小女儿萨莎宣称她爱他，正是因为他看起来如此迷失了灵魂。拯救他是她的使命。他们接吻，并被伊万诺夫惊恐的妻子安娜看到。回到家后，自我憎恨的伊万诺夫对利沃夫说：“26岁的时候我们都是英雄，我们承担任何事情，我们可以做任何事情；” 但到了30岁，我们已经很累了，一事无成。” 当萨莎来看望伊万诺夫时，安娜指责他撒谎。他报复性地反击，告诉她她快要死了，并立即充满悔恨：“我是多么邪恶”。在一年后的最后一幕中，我们得知安娜确实去世了，宾客们也即将抵达伊万诺夫与萨莎的婚礼。没有人对即将发生的事情感到高兴，尤其是萨沙和伊万诺夫自己。他最终告诉她婚礼取消了，然后开枪自杀了。
The action begins when Ivanov pays a visit to his neighbours, where their young daughter Sasha declares that she loves him, precisely because he seems such a lost soul. It is her mission to redeem him. They kiss and are seen by Ivanov’s horrified wife, Anna. Back home, the self-hating Ivanov tells Lvov ‘at 26 we are all heroes, we undertake anything, we can do anything; but at 30 we are tired already, and good for nothing’. When Sasha comes over to visit Ivanov, Anna accuses him of lying. He vindictively hits back by telling her she is going to die, and is immediately filled with remorse: ‘how wicked I am’. In the final act, a year later, we learn that Anna has indeed died, and the guests are arriving for Ivanov’s wedding to Sasha. No one is happy about what is about to happen, not least Sasha and Ivanov themselves. He finally tells her the wedding is off, and shoots himself.
契诃夫在《伊万诺夫》中向我们介绍的，是一个与以前讲故事中所见不太一样的小世界，他的戏剧中笼罩着一种奇特、甜蜜的忧郁，闪烁着尖刻的幽默。没有人被描绘成特别黑暗：即使是无情但自卑的伊万诺夫也没有（尽管契诃夫的戏剧总是以一种主导性格为特色，就像《樱桃园》中的伊万诺夫或留芭），他的自私给其他人蒙上了阴影）。但与此同时，其他角色也都不是特别轻。所有人本质上都陷入了同样的道德黄昏。每个人都是孤立的，与其他人隔绝，因为他们都或多或少地受到自己个人形式的利己主义的束缚。不再有任何其他维度的暗示，我们之前认为这些维度对伟大的原型故事至关重要：那种赋予生命的力量，通过带来光明、认知、转变和完整性，最终将故事焊接在一起。自我的价值观几乎消失在地平线以下。没有它们，所有可能发生的事情——正如我们在后来的哈代中开始看到的那样——故事的人物注定会慢慢地向下漂流，就像水从塞子里流走一样，直到最后可能发生令人震惊的事件，表明浴缸是空的。至少这让故事看起来已经有了结论。但没有任何事情真正得到解决或理解。
What Chekhov introduces us to in Ivanov, veiled in that peculiar, sweet melancholy lit with flashes of mordant humour which hangs over his plays, is a little world not quite like anything seen in storytelling before. No one is presented as particularly dark: not even the heartless but self-despising Ivanov (although Chekhov’s plays always feature one dominant personality, like Ivanov or Liuba in The Cherry Orchard, whose egotism casts a shadow over everyone else). But at the same time none of the other characters is particularly light either. All are essentially trapped in the same moral twilight. Each is isolated and shut off from everyone else, because they are all to a greater or lesser extent bound up in their own individual form of egotism. No longer is there any hint of that other dimension we have previously seen as so fundamental to the great archetypal stories: that life-giving force which can ultimately weld a story together by bringing light, recognition, transformation and wholeness. The values of the Self have all but vanished below the horizon. And without them, all that can happen – as we began to see developing in later Hardy – is that a story’s characters are doomed to drift slowly downwards, like water draining away down a plughole, until finally may come that shocking event which shows the bath is empty. At least this gives the story the semblance of having come to a conclusion. But nothing has really been resolved or understood.
在契诃夫主题的下一个变体《海鸥》中（1896），主角是阿尔卡迪娜，这位日渐衰弱的中年女演员，梦想着自己在当地省中心哈尔科夫的舞台上赢得掌声的日子。在关心他人的戏剧表演背后，她是完全以自我为中心的。现在，她在成功但空虚的中年作家特里戈林的陪同下来到了家里的乡村庄园，她的儿子特雷普利奥夫计划与邻居的女儿尼娜一起在花园里演出一出戏剧。他的戏剧性片段的本质很能说明问题。它让人联想到20万年后的世界，那时地球上所有无数的生命形式都被纳入一个单一的世界灵魂，与宇宙中唯一幸存的其他生物——魔鬼相对立。虽然是以一种戏仿前卫戏剧的形式呈现，这个令人难以忘怀的神秘整体形象，象征着所有生命的精神统一，由天真的年轻尼娜扮演，实际上是契诃夫作品中最接近自我唤起的事物。但当然，这只是一个不成熟的梦想，设定在某个不可能的遥远的未来。对于这位不理解的母亲来说，这种自命不凡的幻想实在太无聊和“颓废”，激怒了她讽刺性的干预，这对可怜的年轻作家来说是如此的沉重，以至于他突然结束了诉讼程序。
In Chekhov’s next variation on the theme, The Seagull (1896), the dominant personality is Arkadina, the fading middle-aged actress, dreaming of the days when she was winning applause on the stage of the local provincial centre, Kharkhov. Behind theatrical shows of caring for others, she is wholly egocentric. Now she has come out to the family’s country estate, accompanied by the successful but empty middle-aged writer Trigorin, where her son Trepliov has planned to put on a play in the garden, with Nina, the daughter of a neighbour. The nature of his dramatic fragment is telling. It conjures up a vision of the world 200,000 years into the future, when all the myriad forms of life on earth have become subsumed into a single World-Soul, opposed by the only other creature surviving in the universe, the Devil. Although presented as a kind of parody avant-garde play, this haunting image of a mysterious totality symbolising the spiritual unity of all life, and played by the innocent young Nina, is in fact the nearest thing to an evocation of the Self anywhere in Chekhov. But of course it is only an immature dream, set in some impossibly remote future. And such pretentious fantasy is all far too boring and ‘decadent’ for the uncomprehending mother, provoking her to sarcastic interventions so crushing to the poor young author that he brings proceedings to an abrupt end.
一旦儿子无法逃脱“黑暗母亲”令人窒息的掌控成为核心问题，事件就会再次逐渐恶化。暴力的结论。尼娜说自己“像海鸥一样”被这个家庭所吸引，在他因这部戏而受到羞辱后，她对年轻的特雷普利奥夫失去了兴趣，转而被著名作家特里戈林所吸引。特雷普洛夫深受伤害，射杀了一只海鸥并将其送给了她。无情的特里戈林，以伟大作家的自以为是为幌子，为一个故事写下了笔记，他告诉她，这个故事是关于“像你这样的年轻女孩”，她“像海鸥一样快乐和自由”。但一个男人偶然出现，看到她，却无事可做，就毁了她，就像这里的这只海鸥一样。” 尼娜对特里戈林的迷恋发展到了这样的地步，她向他提到了他自己的一本书中的一句话：“如果你需要我的生命，就过来接受它”。特雷普洛夫和他的母亲吵架了，在其中，他对她和特里戈林在虚假的“线上”世界中所代表的一切表示彻底的蔑视。当两人准备离开时，特里戈林和尼娜私下交换了一个漫长而热烈的拥抱。
Once the son’s inability to escape the suffocating grip of the ‘Dark Mother’ is established as the central problem, events then again gradually spiral down to a violent conclusion. In the wake of his humiliation over the play, Nina, who says she has been drawn to the household ‘like a seagull’, loses interest in young Trepliov and gravitates instead to the famous writer Trigorin. Trepliov, deeply hurt, shoots a seagull and presents it to her. The heartless Trigorin, cocooned in his self-important persona as a great writer, jots down notes for a story which he tells her is about ‘a young girl like you’ who is ‘happy and free as a seagull. But a man chances to come along, sees her, and having nothing better to do, destroys her, just like this seagull here.’ Nina’s crush on Trigorin develops to the point where she refers him to a line in one of his own books: ‘if you ever need my life, come and take it’. Trepliov and his mother have a row, in which he expresses utter contempt for everything she and Trigorin in their false ‘above the line’ world stand for. As the two of them prepare to leave, Trigorin and Nina privately exchange a long passionate embrace.
在两年后的最后一幕中，我们看到特雷普利洛夫讲述了尼娜如何跟随特里戈林来到这座城市。他们有外遇，她生下的孩子死了，特里戈林抛弃了她，她成了一名不成功的女演员。然后阿卡迪娜和特里戈林到达了房子。特里戈林对特雷普利洛夫在一本杂志上发表的一篇故事表示居高临下的赞扬。当这位伟人给他一份副本时，他发现特里戈林已经剪掉了他自己写的故事的页面，但显然甚至没有阅读特雷普利洛夫的贡献，其中的页面仍然没有被剪掉。尼娜出现了，她泪流满面地向特雷普利洛夫回忆起他们逝去的青春，以及他们上演戏剧时那些快乐天真的日子。当阿卡迪娜、特里戈林和其他人从房间外面走近时，特雷普利洛夫悄悄离开，当他们都进来后，后台有一个镜头。这个被压垮和羞辱的男孩自杀了。契诃夫所描述的“四幕喜剧”就这样结束了，尽管很难想象还有什么与喜剧原型相去甚远的事情。
In the final act, two years later, we see Trepliov recounting how Nina had followed Trigorin to the city. They had an affair, she had given birth to a child which died, Trigorin abandoned her and she had become an unsuccessful actress. Then Arkadina and Trigorin arrive at the house. Trigorin is patronisingly complimentary about a story Trepliov has had published in a magazine. When the great man presents him with a copy, he finds Trigorin has cut the pages of a story written by himself but has obviously not even read Trepliov’s contribution, the pages of which are still uncut. Nina turns up, and tearfully recalls to Trepliov their lost youth and those happy, innocent days when they were putting on their play. As Arkadina, Trigorin and others are heard approaching from outside the room, Trepliov quietly leaves and, when they have all come in, there is a shot offstage. The crushed and humiliated boy has committed suicide. So ends what Chekhov described as ‘a comedy in four acts’, although anything further removed from the archetype of Comedy would be hard to imagine.
在万尼亚叔叔（1899）主要人物是杰出的艺术史学家谢列布里亚科夫（Serebriakov），退休后与第二任妻子叶列娜（Yeliena）回到自己的乡村庄园居住。但主角是他第一次婚姻中的妹夫沃尼茨基（Voinitsky，“万尼亚”），多年来，当谢列布里亚科夫住在城里时，沃尼茨基一直孜孜不倦地经营着庄园。万尼亚欣然牺牲了自己的生命，因为他认为他已故姐姐的丈夫是一位受人尊敬的学者，甚至是一位天才。但现在谢列布里亚科夫回到了家，万尼亚姗姗来迟地意识到他为之献出生命的这个人是一个骗子，一个对艺术一无所知的无足轻重的人：“他的著作中没有一个字能在他身后留存”。年轻的当地医生阿斯特罗夫（Astrov）是被谢列布里亚科夫（Serebriakov）的自负所笼罩的人之一，他对这种方式感到绝望，由于俄罗斯人民的愚蠢和懒惰，他们美丽的土地将被毁坏（“俄罗斯的森林在斧头下呻吟，动物和鸟类的家园被毁坏，河流变浅和干涸”）向上，美丽的风景就永远消失了。”）。叶列娜指出，她丈夫与第一次婚姻所生的女儿、万尼亚的侄女索尼娅正在爱上阿斯特罗夫。但当她巧妙地试图提出求婚时，阿斯特罗夫尴尬地表达了他对叶列娜本人的爱。随后，谢列布里亚科夫突然宣布，他打算出售瓦尼亚一生奉献的庄园，震惊了所有人。河流变浅、干涸，美丽的风景永远消失了。”）。叶列娜指出，她丈夫与第一次婚姻所生的女儿、万尼亚的侄女索尼娅正在爱上阿斯特罗夫。但当她巧妙地试图提出求婚时，阿斯特罗夫尴尬地表达了他对叶列娜本人的爱。随后，谢列布里亚科夫突然宣布，他打算出售瓦尼亚一生奉献的庄园，震惊了所有人。河流变浅、干涸，美丽的风景永远消失了。”）。叶列娜指出，她丈夫与第一次婚姻所生的女儿、万尼亚的侄女索尼娅正在爱上阿斯特罗夫。但当她巧妙地试图提出求婚时，阿斯特罗夫尴尬地表达了他对叶列娜本人的爱。随后，谢列布里亚科夫突然宣布，他打算出售瓦尼亚一生奉献的庄园，震惊了所有人。尽管这是索尼娅从她母亲那里继承来的，但它仍然是建立起来的。这种对谢列布里亚科夫盲目自私的揭露（连他自己也承认自己是“一个自我主义者，一个暴君。但我难道没有权利在晚年自私吗？我热爱成功。我喜欢成为一个众所周知的人物”）终于让万尼亚受不了了。他表达了对谢列布里亚科夫的蔑视，并试图开枪射杀他。但是，暴力行为第一次并不是故事的结局。最后一幕显示一切显然恢复正常，谢列布里亚科夫和叶列娜准备离开庄园。当他们离开后，只剩下年轻的索尼娅和她的叔叔独自一人，幻想着他们在多年不劳而获、不眠不休的工作之后，最终将到达天堂：
In Uncle Vanya (1899) the dominant figure is Serebriakov, a distinguished art-historian, who has returned to live on his country estate in his retirement with his second wife Yeliena. But the central character is his brother-in-law by his first marriage, Voinitsky (‘Vanya’) who has for years worked tirelessly to run the estate while Serebriakov lived away in the city. Vanya has cheerfully sacrificed his life under the impresssion that his late sister’s husband was a respected scholar, even a genius. But now Serebriakov has come back home, Vanya belatedly realises the man he has given his life for is a fraud, a nonentity who knows nothing about art: ‘not a word of his writings will survive him’. Among those in the shadows cast by Serebriakov’s egotism is the young local doctor Astrov, who despairs at the way, thanks to the stupidity and laziness of the Russian people, their beautiful land is going to rack and ruin (‘The Russian forests are literally groaning under the axe, the homes of animals and birds are being laid waste, the rivers are getting shallow and drying up, the wonderful scenery is disappearing for ever.’). Yeliena notes that Sonia, her husband’s daughter by his first marriage and Vanya’s niece, is falling for Astrov. But when she tactfully tries to suggest a proposal, Astrov embarrassingly proclaims his love for Yeliena herself. Serebriakov then suddenly shocks everyone by announcing that he intends to sell the estate which Vanya has devoted his life to building up, even though it is Sonia’s inheritance from her mother. This revelation of Serebriakov’s mindless selfishness (even he himself recognises he is ‘an egotist, a despot. But haven’t I the right to be selfish in my old age? I love success. I like being a well-known figure’) is finally too much for Vanya. He pours out his contempt for Serebriakov and tries to shoot him. But, for the first time, the act of violence is not the end of the story. A final act shows everything apparently back to normal, as Serebriakov and Yeliena prepare to leave the estate. When they are gone, all that is left is for young Sonia, left alone with her uncle, to conjure up a vision of how, after they have worked thanklessly and without rest for many more years, they will finally arrive in heaven:
“我们将听到天使的声音，我们将看到所有的天空都布满了钻石般的星星，我们将看到所有尘世的邪恶，我们所有的痛苦都被充满整个世界的恩典所扫除，我们的生活将变得和平，温柔和甜蜜如爱抚。我相信这个。我相信......我们会休息......我们会休息！
‘we shall hear the angels, we shall see all the heavens covered with stars like diamonds, we shall see all earthly evil, all our suffering swept away by the grace which will fill the whole world, and our life will become peaceful, gentle and sweet as a caress. I believe it. I believe it ... we shall rest ... we shall rest!’
当然，契诃夫只是在嘲笑索尼娅自欺欺人的宗教信仰。他真正传达的关于人类存在的信息是，在这种感伤的虚幻背后，除了黑暗和空虚之外，什么也没有留下。
But of course Chekhov is only mocking Sonia’s self-deluding religiosity. What he is really conveying about human existence is that, behind such sentimental make-believe, there is nothing left but that black and empty void.
关于《三姐妹》（1901）中的女主人公，每个人都记得的一件事是，这三个女孩被困在一个沉闷的省级城镇，她们的父亲一年前一直担任驻地司令，直到一年前去世，她们永远梦想着有一天有一天他们什么时候可以返回莫斯科。正如故事中经常出现的那样，这座伟大的城市充满了生机和意义（许多法国小说中的巴黎，美国故事中的纽约，狄更斯或汤姆琼斯或迪克惠廷顿中的伦敦）是自我的外部投射象征：地方小英雄和女英雄所渴望的“中心”，作为他们“发现自己”的地方。契诃夫的所有戏剧都以外省为背景，这绝非偶然。他们的人物远离“中心”是他们没有任何内在中心这一事实的外在反映。这一点在《三姐妹》中莫斯科所扮演的象征性角色中表现得最为明显。正如女校长奥尔加在戏剧开头对她的姐妹们所说的那样：“要是我们能回到莫斯科就好了”。他们痴迷于那个遥远的地方，他们想象在那里他们最终可以找到生命、爱、意义、目的：他们在这个令人窒息的小角落里被剥夺的一切。
The one thing everyone remembers about the heroines of The Three Sisters (1901) is that the three girls, trapped in a dreary provincial town where their father had been commander of the military garrison until his death a year earlier, are perpetually dreaming of the day when they might return to Moscow. As so often in stories, the great city teeming with life and significance (Paris in so many French novels, New York in American stories, London in Dickens or Tom Jones or Dick Whittington) is an externally projected symbol of the Self: the ‘centre’ to which little provincial heroes and heroines aspire as the place where they will ‘find themselves’. It is no accident that all Chekhov’s plays are set in the provinces. The remoteness of their characters from the ‘centre’ is an external reflection of the fact that none have any inner centre. And nowhere is this more obvious than in the symbolic role played by Moscow in The Three Sisters. As Olga, the schoolmistress, puts it to her sisters at the play’s beginning: ‘if only we could go back to Moscow’. They are obsessed with the thought of that distant place where they imagine they might at last find life, love, meaning, purpose: everything they are deprived of in this suffocating little corner of nowhere.
他们希望的破灭以他们的兄弟安德烈的衰落为象征，他们想象他是如此有才华，只要他们能到达莫斯科，他肯定会成为一名教授。但在他与粗鲁、令人难以忍受的娜塔莎结婚后，她成为了剧中的主导人物，像一只可怕的杜鹃一样接管了这个家庭。她对待家里的老护士安菲萨就像对待泥土一样。她把奥尔加推出卧室，为她如此伤感的多愁善感的婴儿博比克打造一个婴儿室。然后把她彻底赶出家门。与此同时，她可怜的丈夫因赌债而崩溃。
The draining away of their hopes is symbolised in the decay of their brother Andre whom they have imagined to be so talented that, if only they could reach Moscow, he would surely be made a professor. But after he marries the boorish, insufferable Natasha she becomes the play’s dominant figure, taking over the household like a monstrous cuckoo. She treats the family’s old nurse Anfisa like dirt. She pushes Olga out of her bedroom, to make a nursery for the baby Bobik she dotes on with such mawkish sentimentality; then drives her from the house altogether. Meanwhile her pitiful husband, running up gambling debts, falls to pieces.
唯一能缓解女孩们痛苦的就是驻军军官的出现，屋子里充满了他们和蔼可亲的闲聊声。玛莎虽然嫁给了一位沉闷的校长，但却爱上了同样婚姻不幸的新任驻军指挥官维尔希宁，她总是喋喋不休地谈论在遥远的未来“生活将会有所不同”。会很幸福的’。伊雷娜最终同意嫁给图森巴赫男爵，以此摆脱她的痛苦。然后是士兵们离开城镇的命令。在他们出发前夕，图森巴赫进行了一场决斗并被杀。伊琳娜和玛莎都失去了唯一给她们希望的人。医生回应了普遍的绝望，反问道：“这有什么关系？” 没什么大不了的。' 奥尔加在剧中的结尾语中回答道：“要是我们知道就好了。” 要是我们知道就好了！
The only palliative for the girls’ misery is the presence of the officers from the garrison, filling the house with their genial chatter. Masha, though married to a dull schoolmaster, falls for the equally unhappily married Vershinin, the new garrison commander, given to rambling on about how, in the distant future, ‘life will be different. It will be happy’. Irena eventually agrees to marry Baron Toozenbach, as a way out of her misery. Then comes the order that the soldiers are to leave town. On the eve of their departure, Toozenbach fights a duel and is killed. Irena and Masha have each lost the only man who had given them hope. Echoing the general despair, the doctor asks rhetorically ‘What does it matter? Nothing matters.’ To which Olga replies, in the closing words of the play, ‘if only we knew. If only we knew!’
在他早逝前写的最后一部“喜剧” 《樱桃园》 （1904）中，主角是年迈的柳芭·兰耶夫斯卡娅（Liuba Ranyevskaia），她在法国五年后回到了她的俄罗斯庄园。她在国外与醉酒的情人、不负责任的兄弟和女儿生活在一起，债台高筑，回来后却发现现实摆在她面前。洛帕金，曾经的庄园农奴，如今已成为一名成功的商人，她告诉她，偿还债务的唯一希望就是卖掉屋前曾经辉煌的樱桃园，为新繁荣的城市建造大量避暑别墅。居民。精明的暴发户洛帕金是契诃夫笔下最积极的人物，因为至少他专注于致富，根据正在塑造俄罗斯未来的艰难、脚踏实地的商业现实。留芭的一生空虚、虚度，代表着日子已经结束的过去。尽管洛帕金竭尽全力让她面对现实，但她根本做不到。她怎么可能同意砍伐美丽的樱桃园？她长大的老房子及其所有苦乐参半的记忆被拆毁了？在家人和家属的包围下，她迷失在梦想的世界中。即使在拍卖之后，当房子和整个庄园被出售（不可避免地卖给洛帕金）时，她仍然完全与现实隔绝；直到他们最后一次离开这座注定要离开的房子的那一刻，
In his final ‘comedy’ The Cherry Orchard (1904), written just before his early death, the dominant figure is the ageing Liuba Ranyevskaia, returning to her Russian estate after five years away in France. She has run up a mountain of debt living carelessly abroad with a drunken lover, her feckless brother and her daughter, and returns to find reality staring her in the face. Lopakhin, the former estate serf who has become a successful businessman, tells her the only hope of paying off her debts is to sell the once-magnificent cherry orchard in front of the house, to build a mass of summer villas for newly-prosperous city dwellers. The canny nouveau riche Lopakhin is the most positive character in Chekhov, because at least he is focused on becoming rich, according to the hard, down-to-earth commercial reality which is shaping Russia’s future. Liuba, with her empty, wasted life, represents the past whose day is over. Despite all Lopakhin’s friendly efforts to get her to face reality, she simply cannot do so. How could she possibly agree to the felling of the beautiful cherry orchard; the pulling down of the old house in which she grew up, with all its bittersweet memories? Surrounded by her family and dependents, she is lost in a dream world. Even after the auction, when the house and the whole estate are sold, inevitably to Lopakhin, she is still completely insulated from reality; until the moment when it is time for them all to leave the doomed house for the last time, and the play ends on the sound of an axe being taken to the cherry trees.
“生命不过是一个行走的影子”
‘Life’s but a walking shadow’
契诃夫所想象的这个世界的新颖之处在于，我们第一次真正预览了浪漫主义黎明时讲故事开始走的那条路的尽头是什么。
What is new about this world conjured up by Chekhov is that for the first time we get a real preview of what was to lie at the end of that road which storytelling had begun to take in the dawn of Romanticism.
当然，他的戏剧中几乎所有不幸的人周围都笼罩着一种奇特的、令人窒息的、受困的空气，其中一个核心线索是，没有人坚强到足以掌控自己的生活（正如我的一个朋友曾经不耐烦地评论道“如果那些女孩真的想去莫斯科为什么他们不直接去火车站买票呢？”）。他们中没有一个人会向内看，去了解和改变自己。契诃夫的性格没有任何成长，除了愚蠢的梦想和腐朽。甚至没有人开始踏上导致转变的内在发现之旅。我们只看到软弱的、静止的人物，环境的创造物，没有自知之明，注定要永恒年轻的活力和乐观情绪寄托在虚假的外在目标上，慢慢地变成了无法理解的疲惫和徒劳。这一切都呼应了契诃夫在给高尔基的评论中所表达的人类存在的观点：“俄罗斯人是一种奇怪的生物……在他年轻的时候，他贪婪地用他遇到的任何东西填满自己，30年后，除了一种灰色之外，什么也没有剩下”垃圾'。最终，由于没有成熟或完整的希望，唯一的逃避要么是某种绝望的暴力行为，要么是幻想某种遥远的未来状态，无论是在这个世界还是在另一个世界，在那里“生活将会有所不同”。它会很高兴。正如契诃夫所描绘的，人类只不过是追逐阴影的幽灵，期盼着永远不会到来的黎明。
Certainly a central clue to the peculiar, stifling, trapped air which surrounds almost all the unhappy people in his plays is that none are ever strong enough to take control of their own lives (as a friend of mine once impatiently remarked ‘if those girls really wanted to go to Moscow why didn’t they just go down to the railway station and buy tickets?’). None of them ever look inwards, to know and change themselves. There is no growth in Chekhov’s characters, except that of foolish dreams and decay. No one even begins to embark on that voyage of internal discovery which leads to transformation. We merely see weak, static figures, creatures of circumstances, without self-knowledge, doomed to the eternal round of youthful energy and optimism pinned on false, external goals, slowly souring into non-comprehending exhaustion and futility. It all echoes the view of human existence Chekhov expressed in a comment to Gorky: ‘the Russian is a strange creature ... in his youth he fills himself greedily with anything he comes across, and after 30 years nothing remains but a kind of grey rubbish’. In the end, since there is no hope of maturity or wholeness, the only escape lies either in some despairing act of violence, or in fantasising about some distant future state, whether in this world or the next, where ‘life will be different. It will be happy.’ Human beings, as Chekhov portrays them, are little more than wraiths chasing shadows, hoping for a dawn which never comes.
然而，这本身并不是故事讲述者第一次表达如此悲观的人性观点。契诃夫戏剧中贯穿的那种虚无主义的徒劳感，在文学中最常见的独白中得到了最雄辩的概括：
In itself, however, this was not the first time a storyteller had given expression to such a bleak view of human nature. Nowhere is that sense of nihilistic futility which runs through Chekhov’s plays more eloquently summed up than in one of the most familiar soliloquies in literature:
'明天、明天、明天
‘Tomorrow and tomorrow and tomorrow
日复一日地以这种微不足道的步伐蠕动；
Creeps in this petty pace from day to day;
到记录时间的最后一个音节；
To the last syllable of recorded time;
我们所有的昨天都照亮了愚人
And all our yesterdays have lighted fools
通往尘土飞扬的死亡之路。熄灭，熄灭，短暂的蜡烛！
The way to dusty death. Out, out, brief candle!
生命不过是一个行走的影子，一个可怜的玩家
Life’s but a walking shadow, a poor player
他在舞台上昂首阔步、焦躁不安，
That struts and frets his hour upon the stage,
然后就再也听不到了；这是一个故事
And then is heard no more; it is a tale
由一个白痴讲述，充满喧嚣和愤怒，
Told by an idiot, full of sound and fury,
没有任何意义。
Signifying nothing.’
麦克白的话似乎是契诃夫世界的完美镜子。但关键是莎士比亚将这种绝望的观点置于非常具体的心理背景中。他把这句话放进了他笔下最黑暗的悲剧英雄的嘴里，就在他走下坡路的关键时刻。麦克白之所以这样看待世界，是因为他正处于悲剧的噩梦阶段，他的悲剧冒险中所有弄巧成拙的徒劳终于让他认清了。他早已将自己与自我隔绝了。他因自己的自私而变得完全孤立。现在，外部现实终于向他袭来，他只能看到自我中心最终必将通向的道路的尽头：一个没有意义的世界。
Macbeth’s words might seem a perfect mirror to the world of Chekhov. But the point is that Shakespeare sets this despairing view in a very specific psychological context. He puts it into the mouth of the blackest of his tragic heroes, at a precise moment in his downward course. The reason why Macbeth sees the world like this is that he is at just the point in the Nightmare Stage of his Tragedy where all the self-defeating futility of his tragic adventure is finally being brought home to him. He has long since cut himself off from the Self. He has become totally isolated in his own egotism. And now external reality is finally crashing in on him, he can see nothing more than the end of the road to which egocentricity must eventually lead: a world devoid of meaning.
莎士比亚所说的是，对于一个内心与自我之外的事物失去联系的人来说，世界最终必须是这个样子。人类的心灵是这样构成的，正如他以一位伟大艺术家的直觉理解所认识到的那样，对于任何从这个缩小的角度看待人类存在的人来说，它最终会变得和麦克白所看到的一模一样：令人厌烦、不真实和完全没有意义， “没有任何意义”。但是，当然，没有人比莎士比亚更清楚，这仅代表人类经验的一个非常有限的方面。我们可以从一个完全不同、更深刻的角度来看待生活。只有这样，它才会呈现出色彩和意义，揭示其真正的模式和目的。
What Shakespeare was saying was that this is how the world must eventually look to someone who has inwardly lost contact with anything outside his own ego. The human psyche is so constituted, as he recognised with all the intuitive understanding of a great artist, that for anyone who views human existence from this shrunken perspective it will eventually come to seem exactly as Macbeth saw it: wearisome, unreal and utterly pointless, ‘signifying nothing’. But, of course, no one knew better than Shakespeare that this represents only one, very limited aspect of human experience. It is possible to view life from a quite different, much deeper perspective. Only then does it take on colour and meaning, revealing its true patterns and purposes.
然而，在契诃夫的作品中，在他的戏剧看似令人着迷的表面之下，他专注于那个特定的有限视角，几乎排除了其他一切。他所呈现的小世界是一个可能不像麦克白那么明显黑暗的人，但他们仍然只真正存在于他们的自我方面。在二十世纪初，这一点的重要性在于，它反映了心理“重心”进一步转变的开始，在接下来的 100 年里，这种转变在一些最好的——那个时代众所周知的故事。
In Chekhov, however, beneath the apparently beguiling surface of his plays, he concentrates on that particular limited perspective to the exclusion of almost everything else. The little world he presents is one of people who may not be so obviously dark as Macbeth, but who still only really exist in terms of their ego. And the significance of this, at the start of the twentieth century, was that it reflected the onset of a further shift in that psychological ‘centre of gravity’ which, over the next 100 years, was to find expression in some of the best-known stories of the age.
普鲁斯特：无法长大的小男孩英雄
Proust: The little boy-hero who couldn’t grow up
契诃夫去世后不久，一位 30 多岁的医生之子就隐退了，在巴黎一间铺着软木塞的房间里的床上开始写这篇最终成为有史以来出版的最长的故事。近一百年后，马塞尔·普鲁斯特的 3,300 多页《追忆似水年华》被广泛描述为“二十世纪最伟大的小说”。
Not long after Chekhov’s death, a doctor’s son in his mid-30s retired from the world and took to his bed in a cork-lined room in Paris, to begin writing what was eventually to become the longest story ever published. Nearly a hundred years later, the 3,300-odd pages of Marcel Proust’s À La Recherche Du Temps Perdu were to be widely described as ‘the greatest novel of the twentieth century’.
如果不认识到普鲁斯特那堆积如山的文字在多大程度上反映了他自己痴迷的自我个性和他自己的生活故事，就无法正确地看待它。1870 年普鲁士围困期间，他出生于巴黎一个典型的法国上层资产阶级家庭。他那雄伟、留着胡须的父亲是法国医疗机构的杰出支柱。但年轻的马塞尔最亲密的关系，最能塑造他的性格，是与他溺爱的犹太母亲的关系，她称他为“ mon petit loup ”。当他七岁的时候，他的传记作家乔治·佩因特称之为“普鲁斯特一生中最重要的事件”，这尤其说明了这对他性格的影响的特殊程度。
One cannot see Proust’s mountain of words in proper perspective without recognising the extent to which it reflected his own obsessively self-absorbed personality and the story of his own life. He was born in Paris, in the middle of the Prussian siege of 1870, into a typical haut-bourgeois French family. His imposing, bearded father was a distinguished pillar of the French medical establishment. But young Marcel’s closest relationship, shaping his personality more than anything else, was that with his doting Jewish mother, who called him ‘mon petit loup’; and the peculiar degree to which this affected his character was notably illustrated, when he was seven, by what his biographer George Painter called ‘the most important event in Proust’s life’.
这件事发生在一个晚上，当时他的父母在花园里招待客人，而他的母亲却没有来到儿子的卧室，像往常一样给他一个晚安吻。痛苦的孩子在窗外看着大人们，无法入睡，他徒劳地恳求家里的仆人把他的母亲叫到楼上。最后他探出身子，喊道：“小妈妈，我需要你一下”。当她走进房间时，他歇斯底里地哭泣起来，他终生都记得那是他内心“从未停止过”的抽泣：当他恳求母亲的爱时，她却哭了。不来。两年后，他第一次哮喘发作，吓坏了他的父亲，这再次困扰着他的余生。画家将这与他歇斯底里的哭泣联系起来，作为无意识地恳求“父亲的怜悯和母亲的爱”。事实上，普鲁斯特已经成为一种特别严重的“母亲情结”的受害者：一个体弱多病、被宠坏的、患有忧郁症的小男孩，即使在他16岁时与母亲短暂分离时，他也会陷入如此戏剧化的抽泣中。他的叔公轻蔑地斥之为“纯粹的自私”。
This took place on an evening when his parents were out in the garden, entertaining a guest, and his mother failed to come up to her son’s bedroom to give him his usual goodnight kiss. The anguished child watched the grown-ups from his window, could not sleep, and pleaded in vain with a family servant to call his mother upstairs. Eventually he leaned out and called ‘ma petite maman, I want you for a second’. When she entered the room, he broke into a fit of hysterical weeping, which he was to remember for the rest of his life as a sobbing inside him which had ‘never ceased’: the moment when he pleaded for his mother’s love and she had not come. Two years later he terrified his father with the first of the asthmatic attacks which again were to haunt him for the rest of his life; and which Painter was to link with his hysterical weeping fits as unconscious pleas for ‘his father’s pity and his mother’s love’. The fact was that Proust had already become the victim of a particularly acute ‘mother-complex’: a sickly, spoiled, hypochondriac little boy who, even when he was briefly separated from his mother at the age of 16, fell into such melodramatic sobbing that his great-uncle contemptuously dismissed it as ‘sheer egotism’.
十几岁的时候，尽管他有时会用自己聪明的言论逗乐他的同学，但他为了讨好并赢得他们的认可而做出的令人尴尬的尝试却让他们更加恼火。正如丹尼尔·哈勒维 (Daniel Halevy) 所说：
As a teenager, although he sometimes amused his schoolfriends with his clever remarks, he irritated them even more by his embarrassing attempts to curry favour and win their approval. As one, Daniel Halevy, put it:
“我们对他有些不愉快。他的友善和温柔的关注似乎只是行为举止和姿态，我们趁机当面告诉他这一点。可怜的、不幸的男孩，我们对他太残忍了。
‘there was something about him we found unpleasant. His kindnesses and tender attentions seemed mere mannerisms and poses, and we took occasion to tell him so to his face. Poor, unhappy boy, we were beastly to him.’
但他的一两个人脉广泛的校友，包括作曲家比才的孤儿，对他来说是有用的，可以帮助他进入巴黎上流社会。18岁时，作为一个留着下垂的小胡子、具有阿谀奉承和一些机智天赋的年轻花花公子，年轻的普鲁斯特先生开始被邀请参加时尚沙龙和极其势利和颓废的法国贵族的盛大晚宴。在他十几岁的时候，他迷上了玛丽·德·贝尔纳达基（Marie de Bernardaky），她是他在香榭丽舍大街玩耍时认识的一个十几岁的女孩。但现在，他对异性的短暂热情几乎完全留在了他自己的脑海里，正如佩因特所描述的那样，很大程度上是受到比自己大 20 岁的女性的启发：要么是受人尊敬的已婚妇女，要么是像劳拉·海曼这样“高不可攀的高级妓女”，谁称他为“我的小瓷器心理学家”。19 岁时，他在军队当了一年志愿者，享受了佩因特所描述的“同志们的纪律和关爱，这对某些神经症患者来说是非常受欢迎的”。但他和母亲仍然每天给对方写信。
But one or two of his well-connected schoolfriends, including the orphaned son of the composer Bizet, were to prove useful to him as an entrée to Parisian high society. And at the age of 18, as a young dandy with a drooping moustache, a gift for flattery and some wit, young Monsieur Proust began to be invited to fashionable salons and the grand dinner parties of the intensely snobbish and decadent French aristocracy. In his mid-teens he had developed a crush on Marie de Bernardaky, a teenage girl he had met playing in the Champs Elysées. But now his transient passions for the opposite sex, which remained almost wholly in his own mind, were largely inspired, as Painter describes it, by women 20 years older than himself: either respectably married or ‘unattainable high class cocottes’ like Laura Hayman, who called him ‘my little porcelain psychologist’. When, aged 19, he volunteered for a year in the army, he enjoyed what Painter described as ‘the discipline and love of comrades which to certain neurotics are so welcome’. But he and his mother still wrote to each other every day.
因此，到了 22 岁时，普鲁斯特就成为了“无法成长的男孩英雄”的典型案例，被囚禁在“黑暗母亲”的阴影下，他的人格中的男性和女性方面都异常发育不良，因此通常被驱使把他对“另一半”的寻找投射到“母亲替代品”上，即性格坚强的年长女性身上。事实上，他现在在这一心理发展中迈出了熟悉的最后一步，在与浮夸的阵营罗伯特·德·孟德斯鸠伯爵的新友谊的魔力下，他进入了同性恋半蒙面社会。他后来将其描述为“平原上的城市所多玛和蛾摩拉”。他与音乐家雷纳尔多·哈恩和小说家阿尔方斯·都德的儿子吕西安等年轻人建立了联系，吕西安称他为“小普鲁斯特先生”。这是一个暮色世界，对爱和被喜欢的渴望不断地在嫉妒和不信任中崩溃。普鲁斯特仍然完全由他纵容的父亲提供经济支持，他举办奢华而自命不凡的晚宴，或者带他的朋友去餐馆，在那里他只为他们点最昂贵的菜肴或反季节的水果。困惑的普鲁斯特博士有时会对儿子的矫揉造作感到不耐烦，就像一位朋友告诉马塞尔“你的父亲总是告诉每个人你没有任何问题”。他说你的哮喘纯粹是疑病症。在作曲家德彪西看来，普鲁斯特“啰嗦、珍贵，而且有点老太婆”。但马塞尔生活的中心仍然是他与母亲的紧密联系，他在朋友雷纳尔多·哈恩的陪伴下，与母亲一起在威尼斯度过了一个著名的假期。后来他的父亲去世了，不久之后他的母亲也去世了。这是普鲁斯特一生中最痛苦的经历。尽管随着她的离开，他第一次可以自由地在来自工人阶级的年轻男子中寻找性伴侣，但这一时刻即将到来，1907年，他开始越来越远离社会，在睡觉中消磨时间。白天只是为了度过他的夜晚痴迷地在他的笔记本电脑上乱写乱画 但马塞尔生活的中心仍然是他与母亲的紧密联系，他在朋友雷纳尔多·哈恩的陪伴下，与母亲一起在威尼斯度过了一个著名的假期。后来他的父亲去世了，不久之后他的母亲也去世了。这是普鲁斯特一生中最痛苦的经历。尽管随着她的离开，他第一次可以自由地在来自工人阶级的年轻男子中寻找性伴侣，但这一时刻即将到来，1907年，他开始越来越远离社会，在睡觉中消磨时间。白天只是为了度过他的夜晚痴迷地在他的笔记本电脑上乱写乱画 但马塞尔生活的中心仍然是他与母亲的紧密联系，他在朋友雷纳尔多·哈恩的陪伴下，与母亲一起在威尼斯度过了一个著名的假期。后来他的父亲去世了，不久之后他的母亲也去世了。这是普鲁斯特一生中最痛苦的经历。尽管随着她的离开，他第一次可以自由地在来自工人阶级的年轻男子中寻找性伴侣，但这一时刻即将到来，1907年，他开始越来越远离社会，在睡觉中消磨时间。白天只是为了度过他的夜晚痴迷地在他的笔记本电脑上乱写乱画 这是普鲁斯特一生中最痛苦的经历。尽管随着她的离开，他第一次可以自由地在来自工人阶级的年轻男子中寻找性伴侣，但这一时刻即将到来，1907年，他开始越来越远离社会，在睡觉中消磨时间。白天只是为了度过他的夜晚痴迷地在他的笔记本电脑上乱写乱画 这是普鲁斯特一生中最痛苦的经历。尽管随着她的离开，他第一次可以自由地在来自工人阶级的年轻男子中寻找性伴侣，但这一时刻即将到来，1907年，他开始越来越远离社会，在睡觉中消磨时间。白天只是为了度过他的夜晚痴迷地在他的笔记本电脑上乱写乱画毕生的作品：这部共七卷的小说，直到 1922 年去世前他才完成。
By the age of 22 Proust was thus a classic case of the ‘boy hero who cannot grow up’, imprisoned in the shadow of the ‘Dark Mother’, abnormally stunted on both the masculine and feminine sides of his personality, and thus typically driven to projecting the search for his ‘other half’ onto ‘mother-substitutes’, older women of strong personality. Indeed he now took a familiar final step in this psychological progression when, under the spell of a new friendship with the flamboyantly camp Count Robert de Montesquiou, he entered the homosexual demimonde he was later to describe as ‘Sodom and Gomorrah, the Cities of the Plain’. He formed liaisons with young men like the musician Reynaldo Hahn and the novelist Alphonse Daudet’s son Lucien, who called him ‘little Monsieur Proust’. It was a twilight world in which the longing for love and to be liked constantly foundered in jealousy and mistrust. Still supported financially entirely by his indulgent father, Proust gave lavish and pretentious dinner parties, or took his friends out to restaurants where he would order for them only the most expensive dishes or fruits out of season. The bemused Dr Proust would in turn give way to occasional outbursts of impatience at his son’s affectations, as when a friend told Marcel ‘your father always tells everybody there’s nothing whatever the matter with you. He says your asthma’s pure hypochondria.’ To the composer Debussy, Proust was ‘long-winded, precious and a bit of an old woman’. But still at the centre of Marcel’s life was his suffocatingly close tie to his mother, with whom he spent a famous holiday in Venice, accompanied by his friend Reynaldo Hahn. Then his father died, and this was followed not long afterwards by the death of his mother. It was the most traumatic experience of Proust’s life. Although, with her departure, he for the first time felt free to find his sexual partners among young men from the working-class, the moment was nearing when, in 1907, he began more and more to withdraw from society, sleeping away the hours of daylight only to spend his nights obsessively scribbling away at his life’s work: the novel in seven volumes which he was not to complete until just before his death in 1922.
通过作者兼叙述者的眼睛来看，他在一百万个半字中只两次透露了他的名字是“马塞尔”，《追忆往事》将以自我为中心的讲故事的发展带入了一个新的维度。开篇“序曲”基于普鲁斯特对自己童年场景的回忆，介绍了他的父母、祖母和家庭仆人弗朗索瓦丝，她朴实的女性常识是在大部分时间里保持这样一个支持性的背景存在。这本书。然后我们看到了“晚安之吻”这一集的详细版本，叙述者整个晚上都在痛苦地等待他的母亲上楼，因为他们通常的晚安仪式被他父母的到来打断了。晚宴嘉宾是斯旺先生，他们在贡布雷小镇的神秘邻居。当她最终来到他的房间时，她给他读书，然后同意在隔壁的床上度过余下的夜晚。所有这些，为即将发生的事情奠定情感基础，需要 18 页来描述。这首“序曲”以他成年后经常被引用的一幕结束，当时他的母亲给了他一杯茶和一块扇贝形状的玛德琳蛋糕。他咬了一口，心中充满了一种奇怪的喜悦，因为这种味道唤起了他久违的快乐童年的记忆。在“很久很久以前”这个音符上，故事就可以开始了。
Seen through the eyes of its author-narrator, who only twice in a million-and-a-half words gives away that his name is ‘Marcel’, Remembrance of Times Past took the development of storytelling centred on the ego into a new dimension. The opening chapter, ‘Overture’, is based on Proust’s memories of the scenes of his own childhood, introducing his parents, his grandmother and the family servant Francoise, whose earthy, female common sense is to remain such a supportive background presence through most of the book. We then we come to an elaborated version of the ‘goodnight kiss’ episode, when the narrator has to wait in agony all through the evening for his mother to come upstairs, because their usual goodnight rituals have been interrupted by the arrival of his parents’ dinner guest, Monsieur Swann, their mysterious neighbour in the little town of Combray. When she finally comes up to his room, she reads to him, then agrees to spend the rest of the night sleeping in an adjoining bed. All this, laying the emotional foundation for what is to come, takes 18 pages to describe. The ‘overture’ ends with the often-quoted episode years later in his adulthood, when his mother offers him a cup of tea and a little scallop-shaped madeleine cake. He bites into it and is overcome with a strange joy, as the taste conjures up a flood of memories of his happy, long-lost childhood. On this note of ‘once upon a time’ the story proper can begin.
这个宏大叙事的中心关键在于三个特定的情节，每一集都描述了一段爱情故事，其中有大量反复出现的角色。第一卷在题为“斯旺的方式”的卷中，故事发生在主要叙述开始之前的某个时间，描述了查尔斯·斯旺，一个有犹太血统的社会局外人，他与有权势和时尚人士的神秘联系似乎也使他成为一个“ ”，爱上了奥黛特·德·克雷西。他们漫长的恋情的一切都呈现在一种神秘的暮色中。这两个角色几乎完全是从外部观察的。我们对他们知之甚少。当斯旺在沙龙第一次见到奥黛特时，他认为她不是他喜欢的类型。然后他坠入爱河并追求她。在他重新排列一些兰花“卡特兰”的那一集之后，在她的裙子上（这个细节最初的灵感来自于普鲁斯特在某个盛大场合看到1890年代巴黎上流社会名媛Greffuhle伯爵夫人穿着这些兰花），暗示这对情侣是第一次做爱。但斯旺随后发现她变得异常难以捉摸。她还有另一个情人（福什维尔）吗？他真的可以信任她吗？难道他没有发现她在谎报她去过哪里、和谁在一起吗？她真的是一个妓女，拥有很多情人吗？深陷怀疑和不信任的泥潭中，斯旺开始怀疑自己是否真的爱奥黛特。在一个方向犹豫之后，他最终决定不这么做。她不适合他。他再也不想见到她了。然后我们惊奇地发现，
The central key to the immense narrative, with its huge cast of recurring characters, lies in three particular episodes, each describing a love affair. The first, in the volume entitled ‘Swann’s Way’ and set at a time before the main narrative begins, describes how Charles Swann, the part-Jewish social outsider whose mysterious connections to powerful and fashionable people seem also to make him very much an ‘insider’, falls in love with Odette de Crecy. Everything about their prolonged love affair is presented in a kind of enigmatic twilight. The two characters are observed almost wholly from the outside. We know remarkably little about them. When Swann first meets Odette at a salon, he does not think she is his type. He then falls in love, and woos her. After the episode where he rearranges some orchids, ‘cattleyas’, on her dress (this detail was originally inspired by Proust seeing the Countess Greffuhle, the leading Parisian society beauty of the 1890s, festooned in these orchids at some grand occasion), it is suggested that the couple for the first time make love. But Swann then finds her becoming strangely elusive. Has she another lover (Forcheville)? Can he really trust her? Has he not caught her out in telling lies about where she has been, and whom she has been with? Is she in fact a cocotte, taking many lovers? Enmired in this growing morass of suspicion and distrust, Swann begins to wonder whether he really loves Odette after all. After wavering in one direction, then another, he finally decides that he doesn’t. She is not for him. He never wishes to see her again. We then astonishingly discover, many pages later and for reasons which are never explained, that Swann and Odette did eventually get married after all, and now have a young daughter, Gilberte.
有趣的是，这是书中真正重要的一集，不是以叙述者本人为中心，而是通过他的眼睛看到的。但在重大尊重它就像这本书的另外两段主要爱情故事的前奏，每一段爱情故事都涉及叙述者，在每一段爱情故事中我们都看到他像斯旺一样，永远受到不确定性的折磨。在斯旺追求奥黛特的过程中，她作为一个典型的“难以捉摸的阿尼玛”人物从他身边溜走，就像叙述者自己的两个女朋友后来所做的那样。不同之处在于，当我们看到斯旺和奥黛特结婚时，他的恋情最终达成了幸福的结局，尽管原因不明。就好像，在创造斯旺这个角色时，普鲁斯特以某种方式想象自己难以捉摸的男性部分最终与一个女人成功结合。当然，斯万无疑是一个比叙述者所想象的更强大、更有男子气概的人物，尽管他难以捉摸的快乐舞蹈在他们求爱期间，阿尼玛引导着他。但当在下一卷《萌芽的小树林里》中，普鲁斯特继续想象“马塞尔”自己爱上异性时，就不会有这样幸福的解决方案了。
What is interesting is that this is the one really substantial episode in the book not centred on the narrator himself and seen through his eyes. But in significant respects it is like a precursor to the book’s other two main love affairs, each of which do involve the narrator, and in each of which we see him, like Swann, perpetually tortured by uncertainties. During Swann’s wooing of Odette she slips away from him as a classic ‘elusive anima’ figure, just as the narrator’s own two girlfriends are to do later. The difference is that Swann’s love affair does ultimately, albeit for reasons unexplained, reach a happy conclusion, when we see that he and Odette have married. It is as if, in creating the character of Swann, Proust was somehow imagining the elusive masculine part of himself eventually achieving a successful union with a woman. Certainly Swann is certainly a stronger, more masculine figure than the narrator ever manages to be, despite the merry dance his elusive anima leads him during their courtship. But when in the next volume, ‘Within a Budding Grove’, Proust moves on to imagine ‘Marcel’ himself falling in love with members of the opposite sex, there can be no such happy resolution.
叙述者十几岁时在香榭丽舍大街上看到的初恋情人是一个活泼的红发女孩，他发现她就是吉尔贝特·斯旺。他在青少年时期就对她产生了强烈的迷恋，就像普鲁斯特对她的原创作品《玛丽·伯纳达基》所做的那样。他尽可能多地参加她的街头游戏，希望她会喜欢他（就像普鲁斯特对他十几岁的同学所做的那样）。渐渐地，他们建立了更亲密的友谊，年轻的叙述者成为她宏伟家的常客，吉尔贝特的父母亲切地接待了这个有礼貌的小男孩，想象他可能会对他们的女儿产生良好的影响。但就爱情而言，这种关系完全是片面的，完全存在于叙述者的脑海中。吉尔贝特对他的漫不经心的对待让他备受折磨，他等待着从未收到的信件，而且当他打电话时很少发现她在家（值得注意的是，他与她母亲奥黛特在一起的时间似乎比与希尔贝特本人在一起的时间还要多）。他试图说服自己必须忘记她，他的迷恋最终消失了，她从他的生活中消失了（尽管多年后他们成为了朋友，谈论着遥远的过去）。
The narrator’s first love, whom he sees playing in the Champs Elysées when he is a teenager, is a lively girl with reddish hair whom he discovers is Gilberte Swann. He develops a powerful teenage crush on her, much as Proust had done for her original, Marie Bernardaky. He tries to join her street games as often as he can, hoping against hope that she will like him (much as Proust had done with his teenage schoolfriends). Gradually they develop a closer friendship and the young narrator becomes a regular visitor to her grand home, where Gilberte’s parents receive the polite young boy kindly, imagining he might be a good influence on their daughter. But, in terms of love, the relationship is wholly one-sided, existing entirely in the narrator’s mind. He is tortured by Gilberte’s casual treatment of him, as he waits for letters which never come and rarely finds her at home when he calls (significantly he seems to spend more time with her mother Odette than with Gilberte herself). He tries to convince himself that he must forget her, his infatuation eventually fades and she drops out of his life (although years later they become friends and talk about the now long-distant past).
更重要的是，在小说的 2000 页中，爱情开始于叙述者，现在是一个年轻人，与他的祖母和忠诚的弗朗索瓦丝在巴尔贝克海滨度假胜地度假。有一天，他看到一群活泼的女孩在滨海大道上玩游戏。他的目光尤其被一个推着自行车的假小子、黑发女孩所吸引，他无法忘记她，最终他被介绍给她，名叫阿尔贝蒂娜·西蒙内。随着他逐渐了解她和其他女孩，他与阿尔贝蒂娜的友谊很快就建立起来，当她不得不在他住的大酒店过夜时，她会单独邀请他到她的卧室去。现在他着迷了，试图亲吻她，却看到她愤怒地按响铃寻求帮助，这令他惊恐不已。
Much more substantial, in that it lasts on and off through 2000 pages of the novel, is the love which begins when the narrator, now a young man, takes a holiday with his grandmother and the faithful Francoise in the seaside resort of Balbec. He one day sees a lively band of girls playing games on the esplanade. His eye is particularly caught by one tomboyish, dark-haired girl pushing a bicycle, whom he cannot get out of his mind, and to whom he is eventually introduced as Albertine Simonet. As he gradually gets to know her and the other girls, his friendship with Albertine is soon sufficiently established for her to invite him alone up to her bedroom when she has to spend a night in the Grand Hotel where he is staying. By now besotted, he tries to kiss her, only to see her, to his horror, angrily sounding a bell to summon help. Again he has been cruelly rejected.
接下来的 650 页，在题为“盖尔芒特之路”的卷中，大部分内容都是以普鲁斯特离开学校后作为一个年轻的局外人进入法国上流社会的世界为背景的。当我们没完没了地参观他们的巴黎晚宴和招待会时，有两个印象占主导地位。一是贵族阶层的幽闭恐惧症势利，他们与任何真正的社会角色隔绝，变得彻底颓废，痴迷于“出身”、头衔和家庭历史可以追溯到几个世纪前，就像盖尔芒特家族本身一样，“与法国王室有十四次联系”。另一个是他们谈话中的无休无止的琐碎和自私的乏味，因此，当我们最终看到“传奇盖尔芒特机智”的一个例子时，这个笑话在圣郊区的时尚沙龙中令人钦佩地重复着。几周以来，这只是盖尔芒特公爵夫人将某人描述为“戏弄奥古斯都”的可怕双关语。然而，这个自私自利的世界，除了居民的社会面具之外，似乎没有任何东西存在，普鲁斯特通过他的叙述者充满爱意地将其描述为一个神奇的国度，因为这是他自己受到欢迎的世界，把他视为一个有趣且具有非凡天赋的人，这满足了他的自尊心。在所有这些令人兴奋的社会成功之中，阿尔贝蒂娜出人意料地回到了他的生活中。一天下午，当他躺在床上时，她到达了，温顺地接受了他的爱抚，他们做爱了。
Most of the next 650 pages, in the volume entitled ‘The Guermantes Way’, are based on the time when, after leaving school, Proust was received as a young outsider into the world of the French upper class. As we are led interminably through their Parisian dinner parties and receptions, two impressions predominate. One is of the claustrophobic snobbery of this aristocracy which, cut off from any genuine social role, has become utterly decadent, obsessed with ‘birth’, titles and family histories stretching back centuries into the past, like that of the Guermantes themselves, “fourteen times connected to the French royal family”. The other is of the unremitting triviality and self-regarding tedium of their conversations, so that when we are finally treated, at great length, to an example of the ‘legendary Guermantes wit’, a joke admiringly repeated round the fashionable salons of Faubourg St Germain for weeks, it is merely the awful pun by which the Duchesse de Guermantes describes someone as a ‘teaser Augustus’. Yet this world of all-consuming egotism, where nothing seems to exist beyond the social masks of its inhabitants, Proust lovingly describes through his narrator as a magical realm, because it is the world into which he himself had been welcomed, and which had flattered his ego by treating him as someone interesting and of unusual talent. In the midst of all this heady social success, Albertine unexpectedly comes back into his life. She arrives one afternoon when he is in bed, complaisantly submits to his caresses and they make love.
当叙述者也开始厌倦这个封闭的贵族世界的乏味时，书中的情绪开始发生变化和阴暗。有一次对德·夏吕斯男爵的奇怪采访，这位年长的男人似乎将这位年轻的叙述者视为门徒，但随后有一天晚上让他遭受了一场异常暴躁、威胁、势利的长篇大论，这揭示了一种新的、更加黑暗的长篇大论。他性格的一面。这是叙述者发现德·夏吕斯是同性恋的场景的序幕（当他无意中听到德·夏吕斯与絮比安发生性关系时），也是开启下一卷《平原城市》的曲折、不透明的段落，描述了那些被注定生活在所多玛和蛾摩拉的阴暗地下世界的人：男性和女性同性恋者。半世人；现在，这为小说的其余部分增添了色彩，就像我们在妓院中看到德·夏吕斯、莫雷尔和德·盖尔芒特亲王的场景一样——尽管在前景中，叙述者自己的性倾向几乎完全是根据他的性倾向来呈现的。与性别暧昧的阿尔贝蒂娜的关系备受折磨。1我们对阿尔贝蒂娜从来没有真正了解过。她是一个模糊的纸板人，完全是通过叙述者的眼睛看到的。她代表了普鲁斯特在实现自己的内在灵魂时遇到的所有困难：除了在现实生活中他最终将其投射到男人身上；而阿尔贝蒂娜为了礼仪起见，在外表上仍然保持着女性气质，尽管有时是矛盾的。尽管他与她的关系最终或多或少地建立起来，但他却受到永久的不确定性的困扰。他可以信任她吗？她在骗他吗？她真的是一个秘密女同性恋，与其他女性发生关系吗？他应该娶她吗？一阵抽搐，然后又抽搐，就像之前的斯旺一样，他最终认为这将是疯狂的。但他几乎立刻就认定自己确实爱阿尔贝蒂娜，因为他“亲吻了她，就像我在贡布雷亲吻我的母亲那样，以平息我的痛苦”。我们终于看到了他问题的真正核心。他刚刚告诉母亲，他绝对不会嫁给阿尔贝蒂娜。但第二天，在听到他夜里的哭声后，他的母亲走进他的房间说：“记住，你妈妈今天要离开，不忍心让她的大宠物处于这样的状态”。他把母亲的头抱在怀里，仍在哭泣，并说“我知道我会让你多么不高兴”。但他想了整整一个晚上，“我绝对必须……我绝对必须嫁给阿尔贝蒂娜”。
By the time even the narrator is beginning to weary of the vapidity of this closed aristocratic world, the book’s mood begins to change and darken. There is the strange interview with Baron de Charlus, the older man who seems to have taken the young narrator under his wing as a protégé, but then subjects him one night to an extraordinary petulant, threatening, snobbish tirade which reveals a new, much darker side to his character. This is a prelude to the scene where the narrator discovers that de Charlus is a homosexual (when he overhears him having sex with Jupien), and to the tortuous, opaque passage which opens the next volume, ‘The Cities of the Plain’, describing those who are condemned to live in the shadowy underworld of Sodom and Gomorrah: male and female homosexuals. Proust is here referring obliquely to the time when he himself had entered the twilight world of the homosexual demi-monde; and this now colours much of the rest of the novel, as in the scene where we see de Charlus, Morel and the Prince de Guermantes in a brothel – even though in the foreground the narrator’s own sexual proclivities are presented almost entirely in terms of his tortured relationship with the sexually ambiguous Albertine.1 We never really know very much about Albertine. She is a shadowy, cardboard figure, seen entirely through the narrator’s eyes. She represents all the difficulty Proust had in realising his own inner anima: except that in real life he ended up projecting it onto men; whereas Albertine, for decorum’s sake, remains outwardly, if at times ambivalently, feminine. Although his relationship with her finally becomes more or less established, he is afflicted by perpetual uncertainty. Can he trust her? Is she lying to him? Is she really a secret lesbian, engaging in affairs with other women? Should he marry her? After twitching one way, then another, like Swann before him, he eventually decides that this would be madness. But almost immediately he decides that he does love Albertine after all, after ‘kissing her, as I used to kiss my mother at Combray, to calm my anguish’. We finally see the real heart of his problem. He has just told his mother that he is definitely not going to marry Albertine. But next day, after hearing him crying in the night, his mother comes into his room and says ‘remember your Mamma is going away today and couldn’t bear to leave her big pet in such a state’. He takes his mother’s head in his arms, still weeping, and says ‘I know how unhappy I’m going to make you’. But he has been thinking it over all night, and ‘I absolutely must ... I absolutely must marry Albertine’.
下一卷《俘虏》以阿尔贝蒂娜住在叙述者位于巴黎的公寓中的时期为中心，两人都由忠实的弗朗索瓦丝照顾（像往常一样，马塞尔的所有实际生活必需品完全依赖他人） 。叙述者对阿尔贝蒂娜的爱再次时断时续，不时夹杂着一阵阵嫉妒，并不断怀疑她一直在对他撒谎，并秘密从事女同性恋事务。他是如此地自我中心，以至于在想知道与阿尔贝蒂娜结婚是否会破坏他的生活时，“让我承担将自己奉献给另一个人的艰巨任务”，他甚至认为这是“身体欲望”仅此一点就使我们对另一个人的存在和性格感兴趣”。我们只看到他们的爱情游戏相当幼稚。阿尔贝蒂娜每天晚上出现在叙述者身边，给叙述者带来的最大的乐趣莫过于她的“抚慰力量”，
The next volume, ‘The Captive’, centres on the period where Albertine is living in the narrator’s flat in Paris, both being looked after by the faithful Francoise (as usual, Marcel is wholly dependent on others for all the practical necessities of life). Again the narrator’s love for Albertine switches on and off, punctuated by fits of jealousy and the constantly recurring suspicion that she has been lying to him and secretly engaging in lesbian affairs. So cocooned is he in his own self-centredness that, in wondering whether marriage to Albertine might not spoil his life, ‘by making me assume the too arduous task of devoting myself to another person’, he even suggests that it is ‘physical desire which alone makes us take an interest in the existence and character of another person’. All we see of their love play is that it is fairly infantile; and Albertine gives the narrator no greater pleasure than the ‘soothing power’ of her presence every evening by his side,
“自从很久以前在贡布雷的夜晚以来，我从未经历过这样的事情，当时我的母亲弯下腰，用一个吻让我安息。”
‘the like of which I had not experienced since the evenings at Combray long ago when my mother, stooping over my bed, brought me repose in a kiss.’
然而，随着时间的推移，很明显他们的恋情毫无进展，我们软弱、神经质的英雄永远不会果断地求婚。最后，当他再次审问阿尔贝蒂娜所谓的女同性恋事件时，在一场暴躁的场面之后，他决定永远断绝他们的关系。他回到公寓，弗朗索瓦丝告诉他“阿尔贝蒂娜女士是不公平的”。她已经收拾好行李离开了。他心烦意乱。“俘虏”阿尼玛已经变成了“逃亡者”，下一卷的标题。他派他的朋友圣卢到乡下去寻找她。最终有消息称阿尔贝蒂娜在一次骑马事故中丧生。阿尼玛死了。
Nevertheless, as time drags by, it becomes clear their affair is going nowhere, and that our weak, neurotic hero will never be decisive enough to propose marriage. Finally, after a petulant scene when he has yet again interrogated Albertine about her supposed lesbian affairs, he decides to break off their relations forever. He returns to the flat to be told by Francoise ‘Mlle Albertine est disparue’. She has already packed her bags and left. He is distracted. The ‘captive’ anima has become ‘The Fugitive’, the title of the next volume. He sends his friend Saint-Loup out into the countryside in an attempt to find her. Eventually word comes that Albertine has been killed in a riding accident. The anima is dead.
叙述者从最初的震惊和悲伤中恢复过来，完全沉浸在自我之中，经历了被描述为他对她的死亡“走向冷漠之路的三个阶段”。其中第三个是普鲁斯特对他与母亲和朋友雷纳尔多一起威尼斯之行的重建。在小说中，当他和母亲在那里时，他收到了阿尔贝蒂娜的一封电报，似乎告诉他她还活着。但这并没有给他带来“快乐”。高兴地回到了他深爱的母亲身边，他冷冷地想到，他爱阿尔贝蒂娜的“自我”已经死了，因此他没有理由感动，尽管后来发现他误读了那封电报。这根本不是阿尔贝蒂娜寄来的。她真的死了。
From his initial shock and grief, the narrator then retreats back into total self-absorption, as moves through what are described as his ‘three stages on the road to indifference’ about her death. The third of these appropriately is Proust’s reconstruction of his visit to Venice with his mother and his friend Reynaldo. In the novel, while he and his mother are there, he receives a telegram from Albertine, appearing to tell him that she is still alive. But this gives him ‘no joy’. Happily back in the company of his beloved mother, he chillingly reflects that ‘the self’ in him which loved Albertine is dead, and there is thus no reason for him to be moved, although subsequently it turns out he has misread the telegram. It had not been from Albertine at all. She really is dead.
在《重获时光》最终卷中，数年过去了，法国正处于第一次世界大战之中。圣卢与希尔贝特结婚了；但即使这样至少没有提供一些幸福结局的微弱回响，因为他也开始有外遇，首先是与其他女人，然后是与男人。就连叙述者阳刚之气的影子最终也被吸进了暮色中的性地下世界，在那里我们瞥见现在年迈的亲德派夏吕斯男爵在一家可疑的酒店里为了性快感而被一名士兵殴打，叙述者刚刚从酒店里得到了性快感。看到圣卢出现了。但至少圣卢的男子气概仍然存在，足以让他作为一名军官死在前线。叙述者认识的其他人，比如盖尔芒特公爵，都在日渐衰老。盖尔芒特家院子里凹凸不平的铺路石衬托出他对过去的美好回忆，又像玛德琳蛋糕一样闪现，他沉思着“真正的天堂就是人们失去的天堂”。当他感觉时间不多了，死亡临近时，他终于意识到，他人生的真正目的是他必须成为一名作家，并将这一切写在纸上。他必须记住从遥远的童年起发生在他身上的一切；他认识的每个人；每一个细节，无论多么微不足道：因为这“是我的生活，实际上就是我”。
In ‘Time Regained’, the final volume, years have gone by and France is in the middle of the First World War. Saint-Loup has married Gilberte; but even this does not provide at least some faint echo of a happy ending, since he too had then started to have affairs, first with other women, then with men. Even this shadow of the narrator’s masculinity has finally been sucked down into the twilit sexual underworld, where we glimpse the now ageing, pro-German Baron de Charlus being thrashed for sexual pleasure by a soldier in a dubious hotel, from which the narrator has just seen Saint-Loup emerge. But at least Saint-Loup’s manhood survives sufficiently for him to die as an officer at the front. Everyone else the narrator has known, like the Duc de Guermantes, is growing old and decrepit. He has another ‘madeleine-like’ flash of happy memories of the past, set off by the uneven paving stones in the courtyard of the Guermantes’ house, musing that ‘the true paradises are the paradises one has lost’. As he feels time running out, and death approaching, he realises at last that the true purpose of his life is that he must become a writer and put it all down on paper. He must rememember everything that has happened to him since his far-off distant childhood; every person he has known; every minute detail, however trivial: for this ‘was my life, it was in fact me’.
讲故事史上最伟大的人类自我中心纪念碑就这样结束了：这本书如此专注于作者的自我生活，与其说是一个故事，不如说是一个案例研究：一个如此不成熟的人的自画像由于与“母亲”之间未解决的联系，他无法与更深层次的自我进行任何联系。因为他无法与其他任何人建立任何真正的联系，也无法在自己的生活展开之外看到任何重要的事情，所以它变成了一个没有任何结局的故事：除了回到它自己的起点之外，它哪儿也去不了，就像神话中的衔尾蛇一样，蛇最终吃掉了自己的尾巴。
Thus ends the greatest monument to human egotism in the history of storytelling: a book so preoccupied with the ego-life of its author that it is not so much a story as a case study: the self-portrait of a man so frozen in immaturity by the unresolved tie to ‘Mother’ that he is incapable of making any contact with the deeper Self. Because he cannot make any genuine connection with anyone else, or see anything of significance outside the unfolding of his own life, it becomes a story which cannot have any resolution: which can go nowhere except back to its own beginning, like the mythical ouroboros, the snake which ends up eating its own tail.
三个“伪结局”：要么是一声巨响，要么是一声呜咽
The three ‘Pseudo-Endings’: Either with a bang or a whimper
当讲故事完全进入自我世界时，发生的最明显的事情是故事不再以黑暗与光明之间的原型对立为中心。人物因此出现在一种暮色中，彼此隔绝，生活在只能导致幻灭的梦想中。最重要的是，他们无法经历任何真正的内心转变。因为他们无法发展那些使他们变得完整的个人品质，所以这样的故事不可能得出完整的原型结论。如果没有真正的光明或黑暗，故事就不可能以他们之间的高潮对抗而达到高潮。但这并不能消除任何故事对结局的需要。因此，发生的事情是讲故事的人求助于“伪结局”：某种似乎使故事更加圆满的装置，尽管实际上什么都没有得到解决。这些“伪结局”主要采用三种形式（有时组合使用）。
The most obvious thing which happens when storytelling moves exclusively into the world of the ego is that stories no longer centre round the archetypal opposition between darkness and light. The characters thus appear in a kind of twilight, cut off from one another, living on dreams which can lead only to disillusionment. Above all, they cannot go through any real inner transformation. And because they cannot develop those personal qualities which will bring them to wholeness, it is impossible for such stories to come to a full archetypal conclusion. Where there is no real light or dark, the story cannot culminate in a climactic confrontation between them. But this does not eliminate the need of any story for an ending. What happens therefore is that the storyteller falls back on a ‘pseudo-ending’: some device which appears to round off the story, even though in reality nothing has been resolved. And these ‘pseudo-endings’ take three main forms (sometimes seen in combination).
(1) 正如我们在契诃夫身上看到的那样，故事可能会以某种令人震惊的暴力行为结束，这些暴力行为或多或少是凭空爆发的。至少，通过带回人物生活的空虚，这似乎给故事带来了一个戏剧性的结局，尽管一切都还没有真正解决。
(1) As we saw in Chekhov, the story may end in some shocking act of violence, erupting more or less from nowhere. At least, by bringing home the emptiness of the characters’ lives, this appears to give the story a dramatic conclusion, even though nothing has really been resolved.
(2) 正如我们在普鲁斯特那里看到的那样，故事可能会变成循环，其结局在某种程度上又回到了开头。我们希望，仅仅通过回顾导致这一结论时刻的事件，这本身就可以为所发生的一切赋予某种意义，尽管同样没有任何事情真正得到解决。另一个例子是电影《相见恨晚》。故事开始于一段无果而终的恋情破裂之后。但这随后在闪回中被回忆起来，最终回到了故事的起点——夫妻之间无法沟通的场景。
(2) As we saw in Proust, the story may become circular, with its ending referring back in some way to its beginning. The hope is that simply by retracing the events which have led up to this concluding moment, this may in itself give a semblance of meaning to all that has happened, even though again nothing has really been resolved. Another example is the film Brief Encounter. This begins just after the breaking off of a love affair which had ended up going nowhere. But this is then recalled in flashback, eventually leading back to the scene of non-communication between husband and wife which has been the story’s starting point.
(3) 第三种“伪结局”是讲故事的人故意试图利用一切都还没有解决的事实。故事以一个或多个角色进入未来，但一无所获而结束。但因为这被视为故事的一种“道德”，所以它旨在给所发生的一切赋予一种重要的气氛。
(3) A third type of ‘pseudo-ending’ can be seen where a storyteller deliberately tries to make a virtue of the fact that nothing has been resolved. The story ends with one or more of the characters moving on into the future, but going nowhere. But because this is presented as a kind of ‘moral’ to the tale, it purports to give an air of significance to all that has happened.
结合了前两个“伪结局”的故事是路易吉·皮兰德娄在普鲁斯特去世前一年写的戏剧《寻找作者的六个角色》（1921）。演员们在剧院里准备排练一部戏剧（皮兰德娄的作品），这时六个陌生人进来了——两个老人、一个年轻男女、两个孩子——介绍自己是戏剧中的角色，正在寻找一位作家来讲述自己的故事。他们的故事。看来他们是一位父亲，他的妻子离开了他和他们的儿子，与另一个男人住在一起，并与他生了三个孩子。多年后，母亲带着孩子们回到了她以前居住的城市，并把大女儿送到一家服装店工作，以养活他们。事实上，这家商店是一家妓院的门面，有一天，父亲来到妓院寻找性服务。他试图引诱自己的继女，但在关键时刻被母亲打断，母亲尖叫着说出他是谁。
A story which combines the first two of these ‘pseudo-endings’ is the play written by Luigi Pirandello in the year before Proust died, Six Characters in search of an Author (1921). Actors are in a theatre, preparing to rehearse a play (by Pirandello), when six strangers enter – two older adults, a young man and woman, two children – introducing themselves as the characters in a play who are looking for an author to tell their story. It emerges that they are a father, whose wife has left him and their son to live with another man, with whom she has had three more children. After many years the mother has returned with her children to the city where she previously lived, and has sent her eldest daughter to work in a dress shop, to provide them with money. In reality the shop is the front for a brothel, to which the father comes one day looking for sex. He tries to seduce his own stepdaughter, but in the nick of time is interrupted by the mother, who screams out who he is.
这六个角色实际上代表了典型的家庭：父亲、母亲、儿子和女儿，由两个版本的孩子完成，男孩和女孩，代表未来。但他们因各种怨恨和不幸而彼此分离。父亲和母亲互相憎恨。原来的儿子怨恨母亲抛弃了他。女儿对不得不以这种有辱人格的方式养活家人感到不满，尤其是她的继父试图引诱她的那一集。当这一切都得到解释时，两个最小的孩子仍然保持沉默。
These six characters in fact represent the archetypal family: Father, Mother, Son and Daughter, completed by two versions of the Child, boy and girl, representing the future. But they are divided off from one another by every kind of resentment and unhappiness. Father and mother hate each other. The original son resents his mother for abandoning him. The daughter resents having had to support her family in this degrading way, and in particular her stepfather for the episode where he tried to seduce her. While all this is explained, the two youngest children remain silent.
这些“人物”除了他们都经历过的这出悲惨的戏剧之外，别无其他存在。他们被冻结在指定的角色中，无法发展，试图解释戏剧导演和他不理解的“演员”发生了什么。当演员们笨拙地试图重现诱惑场景时，角色们抗议他们完全错了。然后导演要求他们在一个新的场景中重复一遍，即父亲家的花园，突然间，“角色”似乎开始摆脱他们的角色。母亲试图讨好她抛弃的儿子。他从她身边跑到一个喷泉，在那里他看到小女儿已经淹死了。小儿子随后开枪自杀。面对这令人震惊的暴力事件，导演已经不知道自己看到的是虚构还是现实，
The ‘characters’ have no other existence than this wretched drama they have all lived through. Frozen in their appointed roles, incapable of developing, they try to explain what has happened to the play’s director and his uncomprehending ‘actors’. When the actors clumsily try to recreate the seduction scene, the characters protest they have got it all wrong. The director then asks them to repeat it in a new setting, the garden of the father’s house, where suddenly it seems the ‘characters’ are beginning to break out of their roles. The mother tries to ingratiate herself with the son she had abandoned. He runs away from her to a fountain, where he sees the younger daughter has drowned herself. The younger son then shoots himself. At this shocking irruption of violence, the director no longer knows whether he is watching make-believe or reality, and calls the rehearsal to an end.
在这部剧的大部分时间里，角色们似乎都被困在自己的自我角色中，注定要永远以循环的方式重演他们的故事。从这台跑步机中解脱出来的唯一希望是发生一些意想不到的暴力事件，就像契诃夫戏剧的结尾一样。这两个角色似乎是所有这些苦难中最无助的受害者，而且一直保持沉默，他们采取了唯一的出路。当然，事实上，一切都还没有得到解决。但至少，就像契诃夫的作品一样，这部剧看起来有一个重要的结局。
Through most of the play it has seemed as if the characters, trapped in their ego-roles, are doomed just to go on re-enacting their story in circular fashion for ever. The only hope of release from this treadmill is for something unexpected and violent to happen, as at the end of a Chekhov play. The two characters who have seemed the most helpless victims of all this misery, and who have remained mute, take the only way out. In reality, of course, nothing has been resolved. But at least, as in Chekhov, the play has been given the semblance of a significant ending.
我们在四年后出版的一本书中看到了类似的结局组合，即斯科特·菲茨杰拉德的《了不起的盖茨比》（1925）。在小说的结尾，叙述者思考了杰伊·盖茨比（Jay Gatsby）的生活，这位神秘的百万富翁最近被谋杀了。他回忆起盖茨比是如何在美国中西部出身的，后来来到东部积累了巨额财富，住进了漂亮的房子，举办了精彩的派对。多年来，盖茨比一直在追寻黛西的梦想，黛西是他年轻时失去的美丽女孩。但最终他还是追上了她，她住在附近，婚姻不幸，丈夫的丈夫与车库修理工的妻子有染。正当两人似乎终于要幸福地在一起时，黛西开着盖茨比的车，不可避免地碾死了丈夫的情妇。黛西的丈夫随后向死者的丈夫确认了盖茨比就是这辆车的车主。戴绿帽子的丈夫，以为盖茨比是他妻子的情人，他去了盖茨比家，在游泳池里开枪射杀了他，然后自杀了。故事结束时，叙述者回顾了盖茨比的一生，回顾了这一切是如何徒劳地追求梦想。他从千里之外他童年时简陋的家里开始，努力奋斗，获得了所有辉煌的财富（尽管是通过后来被证明非常可疑的方法获得的）、他精美的房子、他著名的派对（尽管他几乎不知道）他的大多数客人，但没有人出席他的葬礼）。当他再次遇见黛西时，他失落了 他从千里之外他童年时简陋的家里开始，努力奋斗，获得了所有辉煌的财富（尽管是通过后来被证明非常可疑的方法获得的）、他精美的房子、他著名的派对（尽管他几乎不知道）他的大多数客人，但没有人出席他的葬礼）。当他再次遇见黛西时，他失落了 他从千里之外他童年时简陋的家里开始，努力奋斗，获得了所有辉煌的财富（尽管是通过后来被证明非常可疑的方法获得的）、他精美的房子、他著名的派对（尽管他几乎不知道）他的大多数客人，但没有人出席他的葬礼）。当他再次遇见黛西时，他失落了阿尼玛，他梦想的最终目标最终一定“看起来如此接近，以至于他几乎无法抓住它”。然后，在突然的暴力时刻，一切都结束了。盖茨比并没有意识到他的梦想“已经成为过去”，因为他已经
We see a similar combination of endings in a book published four years later, Scott Fitzgerald’s The Great Gatsby (1925). As the novel concludes, the narrator is musing on the life of Jay Gatsby, the mysterious multi-millionaire who has recently been murdered. He recalls how Gatsby had emerged from obscure beginnings in the American Middle West, and had come east to build up a great fortune, to live in a fine house and to host fabulous parties. For years Gatsby had pursued the vision of Daisy, the beautiful girl he had lost as a young man. But finally he had caught up with her, living nearby and unhappily married to a husband who was having an affair with the wife of a garage mechanic. Just as it seemed the two might at last be brought happily together, Daisy, driving Gatsby’s car, had unavoidably run over and killed her husband’s mistress. Daisy’s husband had then identified Gatsby to the dead woman’s husband as the car’s owner. The cuckolded husband, thinking Gatsby was his wife’s lover, had gone to Gatsby’s house and shot him in his swimming pool, before committing suicide. As the story ends, the narrator looks back over Gatsby’s life, and how it had all been the vain pursuit of a dream. Beginning thousands of miles away in his humble childhood home, he had worked up to all the splendour of his wealth (albeit achieved by what turned out to be very dubious methods), his fine house, his famous parties (even though he had scarcely known most of his guests, and none had turned up for his funeral). And when he had met Daisy again, his lost anima, the ultimate goal of his dream must finally ‘have seemed so close that he could hardly fail to grasp it’. Then, in one sudden violent moment, it had all been over. Gatsby had not realised that his dream ‘was already behind him’, because he had
“相信绿灯，狂欢的未来一年年在我们面前消退。当时我们没有意识到这一点，但这没关系——明天我们会跑得更快，我们的手臂会伸出得更远……一个美好的早晨……所以我们继续前行，逆水行舟，不断地回到过去。
‘believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter – tomorrow we will run faster, stretch out our arms further... And one fine morning ... so we beat on, boats against the current, borne back ceaselessly into the past.’
这些结束语似乎是对四年前写的普鲁斯特小说的结论的回响。
Those closing words might have seemed like an echo of the conclusion of Proust’s novel, written just four years before.
“伪结局”的第三种形式，即试图通过故事结尾没有任何问题得到解决的事实来创造积极的美德，可以在菲茨杰拉德最长的小说《夜色温柔》（Tender is the Night，1934）中看到。这是菲茨杰拉德三十多岁时写的。他早年成名的那些令人兴奋的日子已经过去了。他所命名的“爵士时代”已经结束。他内心厌倦了作为作家所带来的忙碌、无根的生活成功，也厌倦了与不稳定的塞尔达婚姻的压力，开始酗酒。他的新英雄迪克·戴弗博士是一位很有前途的年轻精神病学家，曾在维也纳学习和苏黎世有着美好的未来。作为一名医生，他最大的个人成功是让芝加哥百万富翁的女儿妮可（Nicole）恢复了表面上的健康，她是一位美丽但精神不稳定的人。在妮可的姐姐贝比的不知情的影响下，迪克被引诱与妮可结婚，最初婚姻似乎很成功。这是故事的“梦想阶段”，当时他们和两个孩子住在法国南部。然后，罗斯玛丽，一位年轻的好莱坞新电影明星，进入了他们的生活，并试图引诱迪克。乍一看，这位幸福婚姻的英雄似乎不可能让步。但渐渐地，随着他的决心开始减弱，妮可同时开始表现出她旧有的精神分裂症的迹象。为了姐姐的缘故，贝比出钱资助迪克开设精神病诊所。这使他比以往任何时候都更加依赖妻子的家庭，这削弱了他的力量。现在正处于“沮丧阶段”，他开始崩溃。他与罗斯玛丽有一段短暂但并不令人满意的恋情。他酗酒，导致了一些尴尬的事件，其中一件事迫使他从诊所辞职。这只会让他喝得更多，将他推入“噩梦阶段”。他和妮可现在在一起痛苦不堪。他已经成为社会的耻辱，她越来越蔑视他。意识到现在有另一个更明显的男性男子被她吸引，她感到一种新的自信，并告诉迪克他一生失败了。她终于感到解放了，既摆脱了曾经帮助治愈她的医生的束缚，也摆脱了他们的婚姻。妮可去嫁给她的新仰慕者，我们最后一次听到迪克的消息是，这位曾经才华横溢、前途无量的年轻精神病学家回到了美国，作为一名单调的全科医生从一个城镇漂泊到另一个城镇。他失去了一切：他的男子气概和他的阿尼玛。妮可幸福地沉浸在她新的自我生活中，她感伤地安慰自己，他一定只是在等待某个电话，以实现他的伟大才能。据我们所知，事实是戴弗博士无处可去。六年后，他的创造者因酗酒去世，享年 44 岁。
The third form of ‘pseudo-ending’, that which tries to make a positive virtue out of the fact that nothing at the end of the story has been resolved, can be seen in Fitzgerald’s longest novel, Tender is the Night (1934). This was written when Fitzgerald was in his late thirties. The heady days of his early fame were behind him. The ‘Jazz Age’ to which he had given its name was over. Inwardly wearying of the hectic, rootless life success as a writer had brought him, and of the strain of his marriage to the unstable Zelda, he was taking to drink. His new hero, Dr Dick Diver, is a highly promising young psychiatrist, who has studied in Vienna and Zurich and has a great future before him. His greatest individual success as a doctor has been in restoring Nicole, the beautiful, but mentally unstable daughter of a Chicago millionaire, to apparent health. Under the unwitting influence of Nicole’s older sister Baby, Dick is lured into marrying Nicole, and initially the marriage appears to be a success. This is the ‘dream stage’ of the story, when they are living in the south of France with their two children. Then Rosemary, a new young Hollywood movie star, enters their life and tries to seduce Dick. At first it seems out of the question that the happily married hero will give way. But gradually, as his resolve begins to weaken, Nicole simultaneously begins to show returning signs of her old schizophrenia. For the sake of her sister, Baby puts up the money for Dick to set up a psychiatric clinic. This places him more than ever in a state of financial dependence on his wife’s family, which emasculates him. Now in the ‘frustration stage’, he begins to fall apart. He has a brief, unsatisfactory affair with Rosemary. He takes to drink, leading to awkward incidents, one of which forces him to resign from the clinic. This only drives him to drink even more, pushing him into the ‘nightmare stage’. He and Nicole are now miserable together. He has become a social embarrassment, and she views him with increasing contempt. Conscious that there is now another, more obviously masculine man who is attracted to her, she feels a new confidence, and tells Dick he has made a failure of his life. She finally feels liberated, both from the doctor who had once helped to cure her and from their marriage. Nicole goes off to marry her new admirer, and the last we hear of Dick is that the once brilliantly promising young psychiatrist has returned to America, drifting from town to town as a humdrum general practitioner. He has lost everything: both his manhood and his anima. Nicole, happily cocooned in her new ego-life, sentimentally consoles herself that he must be merely waiting for some call at last to fulfil his great talents. The truth, as we know, is that Dr Diver is going nowhere. Six years later his creator was dead, from excessive drinking, at the age of 44.
加缪：作为完全的局外人的自我主义者
Camus: The egotist as complete outsider
阿尔贝·加缪在他的小说《局外人》 （ L'Etranger，1938）中，将自我中心的英雄与自我完全分离的想法推向了其逻辑结论。加缪本人当然不会这样描述。激发他灵感的是英雄的想法，英雄之所以变得令人钦佩，是因为他只在自己身上找到了自己身份的中心。他已经摆脱了对他之外的任何人或任何事物的义务感。
In his novel L’Etranger (1938), translated as The Outsider, Albert Camus carried the idea of the egocentric hero totally split off from the Self to its logical conclusion. Not of course that Camus himself would have described it like this. What inspired him was the idea of a hero who becomes admirable because he finds the centre of his identity solely within himself. He has been liberated from any sense of obligation to anyone or anything outside him.
默尔索是阿尔及利亚的一名年轻人，他刚刚收到母亲在敬老院去世的消息。按照惯例，他请假去参加葬礼，但当他到达家里时，他却表现得没什么兴趣。他在棺材所在的房间里抽烟；当她的一些朋友开始哭泣时，她会感到恼火；当他们冒着烈日前往墓地时，他更担心的是炎热，而不是母亲的去世。然后他乘公共汽车回家，期待着长长的睡眠。第二天在海滩他遇到了玛丽，一个令他产生性吸引力的女孩。他建议他们那天晚上应该去看电影，而她惊讶地听到他失去母亲才一天。一部喜剧电影结束后，她留下过夜，但第二天一早离开。接下来的周末，他们又在一起度过了一个晚上，当玛丽问他是否爱她时，他回答“不”。后来她问他是否愿意嫁给她，他说如果她愿意的话他会娶她，但他仍然不爱她。不久之后，默尔索与玛丽以及两个朋友雷蒙德和马森一起出现在海滩上，他们与一些阿拉伯人打架。后来雷蒙德去寻找阿拉伯人，默尔索说服他交出随身携带的枪。一个阿拉伯人拿着一把刀向他们走来，刀在阳光下闪闪发光，让默尔索眼花缭乱，谁冲动地开枪射杀了他。停顿了一下，他又向阿拉伯人的身体开了四枪。
Meursault is a young man in Algeria who has just received news of the death of his mother in an old people’s home. In accordance with convention, he takes time off work to go to the funeral, but when he arrives at the home he shows little interest. He smokes in the room where the coffin is lying; gets irritated when some of her friends begin to cry; and when they process to the cemetery in scorching sun, he is much more worried about the heat than his mother’s death. He then catches the bus home and looks forward to a long sleep. The next day on the beach he meets Marie, a girl to whom he is sexually attracted. He suggests they should go to the cinema that evening and she is surprised to hear it is only a day since he lost his mother. After the film, a comedy, she stays the night, but leaves early the next morning. The following weekend they spend another night together, and when Marie asks him whether he loves her, he replies ‘No’. She later asks him whether he would marry her, to which he says that he will if she wants it, but that he still does not love her. Shortly afterwards, Meursault is on the beach with Marie and two friends, Raymond and Masson, who have been in a fight with some Arabs. Later Raymond goes looking for the Arabs, and Meursault persuades him to hand over a gun he is carrying. One Arab comes at them with a knife, which gleams in the sun, dazzling Meursault, who impulsively shoots him. Afer a pause, he then fires four more shots into the Arab’s body.
默尔索因谋杀被捕，并得到了一名律师，尽管他说这没有必要。当律师试图说服他请求减轻罪责，称自己因母亲的去世而感到难过时，他驳回了这一建议，但又懒得解释原因。地方法官拿出了一个十字架，请默尔索悔改自己的罪行，以便上帝宽恕他。默尔索认为这种想法是可鄙的。他不相信上帝。他并不为自己的罪行感到难过，只是对此感到恼火。在接下来的 11 个月里，在等待审判期间，他喜欢与治安法官争吵，治安法官称他为“反基督先生”，并逐渐习惯了监狱生活，甚至被剥夺了香烟和性（玛丽探望过他一次，但告诉他她不会再被允许再来，因为他们还没有结婚）。
Arrested for murder, Meursault is given a lawyer, although he says this will not be necessary. When the lawyer tries to persuade him to plead in mitigation that he has been upset by his mother’s death, he dismisses the suggestion, but feels too lazy to explain why. The magistrate produces a crucifix and invites Meursault to repent of his crime, so that God will forgive him. Meursault finds such an idea contemptible. He does not believe in God. He is not sorry for his crime, just annoyed about it. Over the next 11 months, while waiting for his trial, he enjoys sparring with the magistrate, who calls him ‘Monsieur Antichrist’, and gradually gets used to prison life, even to being deprived of cigarettes and sex (Marie visits him once, but tells him she will not be allowed to come again, because they are not married).
审判开始时，默尔索对到场的人数感到惊讶。他带着一种无聊的超然感听着检察官的最后总结，检察官大肆渲染了他对母亲之死的无情，并将他描绘成一个没有灵魂的怪物。他自己的律师并不令人印象深刻，默尔索发现审判毫无意义，令人沮丧，希望他能去睡觉。陪审团认定他有罪，并判处他上断头台。在牢房里等待时，他三次拒绝与牧师交谈，并解释说没有任何意义，因为他不相信上帝或任何死后的生命。当牧师坚持不懈时，默尔索生气了，说他想要的不是来世，而是一个他能记住现在的生活的地方。他说牧师本人已经死在里面了，等待着他不存在的来世。他，默尔索，一直都是正确的人，以自己的方式过着自己的生活。别人的生、死、爱都与他无关。他睡着了，醒来时听到警报声宣布他即将被处决。他想到了他的母亲，没有人有权利为她哭泣。他在世界的冷漠中感到安慰，尽管他最终希望有一群恨他的人出现，看着他面对断头台，因为那样他会感到不那么孤独。没有人有权利为她哭泣。他在世界的冷漠中感到安慰，尽管他最终希望有一群恨他的人出现，看着他面对断头台，因为那样他会感到不那么孤独。没有人有权利为她哭泣。他在世界的冷漠中感到安慰，尽管他最终希望有一群恨他的人出现，看着他面对断头台，因为那样他会感到不那么孤独。
When the trial begins, Meursault is surprised by how many people have turned up. He listens with a sense of bored detachment to the final summing up by the prosecutor, who makes much of his heartlessness over his mother’s death and portrays him as a soulless monster. His own lawyer is unimpressive, and Meursault finds the trial depressingly pointless, wishing he could go to sleep. The jury finds him guilty, and sentences him to the guillotine. Waiting in the condemned cell, he three times refuses to talk to the chaplain, explaining that there is no point, since he does not believe in God or any life after death. When the chaplain persists, Meursault becomes angry, saying that it is not an afterlife he wants, but one where he could remember his present one. He says it is the chaplain himself who is dead inside, waiting for his non-existent afterlife. He, Meursault, is the one who has been right all along, living his own life in his own way. No one else’s life, death or love is of any concern to him. He falls asleep and wakes up to hear sirens announcing that his execution is imminent. He thinks of his mother, and that no one had any right to cry over her. He feels comfort in the indifference of the world, although he finally hopes that a crowd of people who hate him might turn up to watch him face the guillotine, because then he would feel less alone.
除了这最后的一丝虚弱之外，默尔索自始至终都沉浸在他以自我为中心的反抗之中。他从来没有故意去做任何邪恶的事情，比如陀思妥耶夫斯基笔下的拉斯柯尔尼科夫。但在整个故事中，他表现出自己对任何正常的人类感情都完全漠不关心，无论是对他的母亲和女友，还是对他随意杀死的人类同胞没有一丝悔恨。他不认为自己的存在之外的任何事物都具有任何意义。在另一种情况下，默尔索可能会被诊断为精神病患者。然而，迄今为止，自浪漫主义诞生以来一直在发生的“黑暗反转”现在已经消失，他可以作为英雄出现在世人面前：正是因为他似乎是一个从一切事物中“解放”出来的人而受到钦佩。道德、社会或宗教约束。迟早，在这个“黑暗反转”的过程中，讲故事的人有一天会想出这样一个英雄是合乎逻辑的。但就讲故事如何反映当自我和自我之间的分裂变得无法挽回时所发生的情况而言，这个过程还需要采取更重要的一步。
Apart from this final flicker of weakness, Meursault remains cocooned in his egocentric defiance to the end. He has never deliberately set out to do anything wicked, like, say, Dostoyevsky’s Raskolnikov. But throughout the story he has shown himself to be totally dead to any normal human feelings, whether towards his mother and his girlfriend, or to the fellow human being he has casually killed without a trace of remorse. He can see nothing outside his own existence as having any significance. In another context, Meursault would have been diagnosed as a psychopath. Yet so far had the ‘dark inversion’ which had been taking place since the dawn of Romanticism now gone, that he could be presented to the world as a hero: to be admired precisely because he seemed to be a man ‘liberated’ from all moral, social or religious constraints. Sooner or later, in this process of ‘dark inversion’, it was logical that a storyteller would one day come up with such a hero. But in terms of how storytelling reflects what happens when the split between ego and Self becomes irretrievable, the process still had one more very significant step to take.
塞缪尔·贝克特：路的尽头
Samuel Beckett: The end of the road
两个流浪汉，弗拉基米尔和爱斯特拉冈，站在路边一棵光秃秃的树前，闲聊着无关紧要的事情。后来我们才知道，他们这样“喋喋不休”地在一起已经有 50 年了。突然，在他们讨论爱斯特拉冈脱掉靴子时遇到的困难，而他的朋友拒绝帮助他时，弗拉基米尔似乎无缘无故地提到了与得救的耶稣一起被钉在十字架上的小偷。“假设我们悔改了，”他说。“悔改了什么？” 爱斯特拉冈回答道。“哦，”弗拉基米尔说，“我们不必讨论细节”。然后他大声地想知道为什么四本福音书中只有一本提到了得救的小偷，而另一本则说“他们都虐待了他”。“虐待谁？” 无聊而困惑的爱斯特拉冈问道。回答是“救世主”。'为什么？' “因为他不会拯救他们”。'从地狱？' ” “愚蠢！“免于死亡”弗拉基米尔反驳道。这些基督教参考资料取自贝克特在他专横跋扈、“虔诚”的爱尔兰新教徒母亲的抚养下的成长经历，贝克特一生中的大部分时间都在试图逃离母亲的影响，这些内容成为了故事中心线索的前奏。爱斯特拉冈建议他们应该继续前进。“我们不能”弗拉基米尔强调道。'为什么不？' “我们在等待戈多。”
Two tramps, Vladimir and Estragon, are standing by a roadside in front of a leafless tree, engaging in inconsequential chatter. We later learn that they have been together, ‘blathering’ like this, for 50 years. Suddenly, after they have been discussing Estragon’s difficulty in pulling off his boot, in which his friend refuses to help him, Vladimir refers, seemingly apropos of nothing, to the thief crucified alongside Jesus who was saved. ‘Suppose we repented’ he says. ‘Repented what?’ replies Estragon. ‘Oh’, says Vladimir, ‘we wouldn’t have to go into the details’. He then wonders aloud why only one of the four gospels mentions the thief who was saved, while another says that ‘both of them abused him’. ‘Abused who?’ asks the bored and baffled Estragon. ‘The Saviour’ comes the reply. ‘Why?’ ‘Because he wouldn’t save them’. ‘From hell?’ ‘Imbecile! From death’ retorts Vladimir. These Christian references, drawn from Beckett’s upbringing by his domineering and ‘profoundly religious’ Irish-Protestant mother, from whom he spent much of his life trying to escape, serve as prelude to what is to be the central thread of the story. Estragon suggests they should move on. ‘We can’t’ says Vladimir emphatically. ‘Why not?’ ‘We’re waiting for Godot.’
因此，我们了解到剧中情节中唯一重要的元素。这两个流浪汉，脱离了任何社会背景，只是两个脱离了实体的人类自我。但很明显，定义他们的一件事是，他们正在等待这位神秘的“戈多”的到来。他们对他是谁、什么或在哪里一无所知。但渐渐地，我们意识到他们把他视为几乎具有宇宙重要性的人。在遇到他之前，他们不能做任何事或去任何地方。如果只有戈多来，一切都会不一样。他的到来可以为他们原本空虚无望的存在赋予意义和目的。
We are thus introduced to what is really the only significant element of plot in the play. The two tramps, stripped of any social context, are simply two dis-embodied human egos. But the one thing which defines them, it becomes clear, is that they are waiting for the arrival of this mysterious ‘Godot’. They know nothing about who, what or where he might be. But gradually we become aware that they look on him as someone of almost cosmic importance. They cannot do anything or go anywhere until they encounter him. If only Godot comes, everything will be different. His arrival is the one thing which could give meaning and purpose to their otherwise empty and hopeless existence.
最终，又出现了两个角色，波佐带着他的仆人“幸运”，像一头动物一样，被拴在前面。他们的关系就像列宁关于人类社会的著名问题“谁？”的讽刺画。谁？' 波佐是一个“线下”人物，他可以坐下来野餐，吃鸡肉和一瓶酒，享受一根烟，同时对待他那可怜的、沉默的、“线下”同伴就像对待泥土一样。但随后，“线下”仆人突然爆发出令人震惊的大量伪深奥的官话。
Eventually diversion arrives in the shape of two more characters, Pozzo driving his servant Lucky in front of him like an animal, on a lead. Their relationship is like a caricature of Lenin’s famous question about human society, ‘Who? Whom?’ Pozzo is the ‘above the line’ figure who can sit down, picnicking on chicken and a bottle of wine, enjoying a smoke, while treating his wretched, silent, ‘below the line’ companion like dirt. But then the ‘below the line’ servant suddenly bursts into a startling flood of pseudo-profound gobbledygook about
“一位长着白胡子的个人神夸夸夸夸，在没有延伸的时间之外，从神圣的冷漠、神圣的阿坦比亚、神圣的失语的高度，深深地爱着我们，除了一些例外，原因未知，但时间会证明一切……”
‘a personal God quaquaquaqua with white beard quaquaquaqua outside time without extension Who from their heights of divine apathia divine athambia divine aphasia loves us dearly with some exceptions for reasons unknown but time will tell ...’
如此反复了几分钟，然后又陷入沉默。新人刚离开，一个男孩就来了。他带来了戈多的讯息。他的师父今天不会来，但明天一定会来。两个流浪汉商量着从树上吊死，然后爱斯特拉冈建议他们继续前进。“是的，我们走吧”弗拉基米尔同意，但他们没有动。第一幕就这样结束了。
and so forth for several minutes, before relapsing into silence. No sooner have the newcomers departed than a boy arrives. He has brought a message from Godot. His master will not be coming today but will definitely come tomorrow. The two tramps discuss hanging themselves from the tree, then Estragon suggests they should move on. ‘Yes, let’s go’ agrees Vladimir, but they do not move. So ends the first act.
第二幕的背景设定在第二天的同一时间和地点，内容大致相同。波佐和幸运儿最终回来了，更简单地说，因为波佐现在失明了，幸运儿哑了。男孩回来说戈多今天不会来，但明天会来。他们问他关于他主人的事：“他有胡子吗？” '是的先生。' “白皙……还是黑色？” “我认为它是白色的，先生”男孩回答道，弗拉基米尔劝告说“基督怜悯我们！” 当男孩消失后，两个流浪汉再次讨论从树上吊自杀，树上现在已经有了几片叶子。“我不能再这样下去了，”爱斯特拉冈说。“明天我们会上吊自杀，”弗拉基米尔说道，停顿了一下后又补充道，“除非戈多来。” “如果他来了呢？” 爱斯特拉冈问道。“我们会得救的”，弗拉基米尔说。再次，正如第一幕结束时，他们同意去，他们又一动不动。于是这部剧就结束了。
The second act, set at the same time and place the following day, is much the same. Pozzo and Lucky eventually return, more briefly, because Pozzo is now blind and Lucky dumb. The boy comes back to say that Godot will not be coming today after all, but will be coming tomorrow. They ask him about his master: ‘has he a beard?’ ‘Yes, sir.’ ‘Fair ... or black?’ ‘I think it’s white, sir’ replies the boy, at which Vladimir expostulates ‘Christ have mercy on us!’ When the boy disappears, the two tramps again discuss hanging themselves from the tree, which now has a few leaves. ‘I can’t go on like this’ says Estragon. ‘We’ll hang ourselves tomorrow’ says Vladimir, adding, after a pause, ‘unless Godot comes.’ ‘And if he comes?’ asks Estragon. ‘We’ll be saved’, says Vladimir. Again, as at the end of the first act, they agree to go, and again they do not move. So ends the play.
《等待戈多》之所以与众不同，是因为它在一个特定方面比任何其他故事都更深刻地描绘了自浪漫主义诞生以来讲故事所走的那条心理道路的终点。这里有两个被困、迷失的人物，象征着人类存在的最内在本质，当它被简化为只剩下自我时。生命变得如此毫无意义，他们宁愿以自杀结束生命。然而，该剧的力量在于他们意识到可能还有其他东西。如果他们能找到这个神秘的戈多所象征的东西，他们的世界就可以改变。他们会得救的。
What makes Waiting for Godot exceptional is how, in one particular respect, it characterised the end of that psychological road which storytelling had been travelling since the dawn of Romanticism more profoundly than any other story. Here were two trapped, lost figures, symbolising the inmost essence of human existence when it is reduced to nothing more than the ego. So meaningless has life become that they might as well end it in suicide. Nevertheless, the play’s power lies in their awareness that there could be something else. If only they could find whatever it that is symbolised by this mysterious Godot, their world could be transformed. They would be saved.
根据定义，贝克特和他的角色都不知道关于这个难以捉摸的缺失维度的任何具体信息，而这个维度可以赋予他们的生活意义。我们得到的这些零碎的暗示将其装扮成与宗教相关的象征意义。当然，戈多的名字本身就带有“上帝”的含义。他的使者，那个男孩，把他描述为留着白胡子，让人想起与上帝联系在一起的智者老人的形象，幸运儿在他疯狂的独白中明确提到了这一点。但我们听到的关于这个影子人物的一切都表明，他代表了长期以来在西方故事讲述中逐渐消失的原型，即自我的转变力量。《等待戈多》的奇特力量关键在于它如何表达这个过程最终触底的那一刻。在意识层面上，仅通过自我来看，我们就会看到生命中所有无根的空虚。但到目前为止，它赋予生命的补充物——自我——现在已经被驱入无意识之中，最终，它以一种朦胧、神秘的形式重新出现。即使只是作为舞台外的存在，角色注定永远不会与之接触。管辖的中央法律之一人类心理学认为，只要心灵的任何强大组成部分没有整合起来，它就不会消失。它仍然埋藏在无意识中，准备以某种阴暗的“低等”形式重新出现；这对于代表人类整体性的最重要的原型来说同样如此，就像任何其他原型一样。《等待戈多》的特殊贡献使其在二十世纪的故事讲述中占有独特的地位，正是因为它比那个时代的任何其他故事都更令人难以忘怀地唤起了这个缺失的自我。
By definition, neither Beckett nor his characters know anything specific about this elusive missing dimension which could give meaning to their lives. Such fragmentary hints as we are given dress it up in the symbolism associated with religion. Godot’s very name, of course, carries the echo of ‘God’; and his messenger, the boy-Child, describes him as having a white beard, evoking the Wise Old Man image associated with God to which Lucky explicitly refers in his mad monologue. But everything we hear about this shadowy figure indicates that he represents that archetype which had for so long been dropping ever further out of sight in western storytelling, the transforming power of the Self. The peculiar power of Waiting for Godot lies in how it expresses the moment when that process finally hits rock bottom. On a conscious level, we are presented with all the rootless emptiness of life when viewed just through the ego. But so far has its life-giving complement, the Self, now been driven into the unconscious that at last, in shadowy, mysterious form, it reappears; even if only as an off-stage presence with which the characters are doomed never to make contact. One of the central laws governing human psychology is that, whenever any powerful component of the psyche is not integrated, it does not just vanish. It remains buried in the unconscious, ready to re-emerge in some shadowy ‘inferior’ form; and this is just as true of the most important archetype of them all, that representing human wholeness, as it is of any other. The special contribution of Waiting for Godot, which gave it its unique place in twentieth-century storytelling, was precisely that it evoked this missing Self more hauntingly than any other story of the age.
贝克特的作品再也没有以这种方式提及迷失的自我。从现在开始，他的戏剧仅仅以越来越稀疏、越来越集中的形式表达通过自我的眼睛看到的存在的空虚。作为普鲁斯特的崇拜者，他制作了独白《克拉普的最后一盘磁带》（1958），其中一位衣衫褴褛的老人绝望地试图通过聆听年轻时自己的录音来重拾早年生活的紧张感。《快乐的日子》（Happy Days，1961）描绘了一位老妇人将腰部埋在土堆里，痴迷于手提包里的东西。《来来去去》（ Come and Go，1966）在只有 121 个字的文本中描绘了三个女性角色。《呼吸》（1969）时长三十秒，仅由“一堆垃圾、一次呼吸和一声哭泣”组成。他最后的奉献，《不是我》（1973）只不过是“一个性别不确定的演员所发表的一段简短的、支离破碎的、脱离现实的独白，其中只有“嘴”被照亮”。
Never again was Beckett’s work to refer to the lost Self in this way. From now on his plays merely expressed the emptiness of existence seen through the eyes of the ego, in ever sparser, more concentrated form. As an admirer of Proust, he produced the monologue Krapp’s Last Tape (1958), in which a shabby old man forlornly tries to recapture the intensity of his earlier life by listening to recordings of his younger self. Happy Days (1961) shows an old woman buried up to her waist in a mound, obsessed with the contents of her handbag. Come and Go (1966) features three female characters in a text of only 121 words. Breath (1969), thirty seconds long, consists only of ‘a pile of rubbish, a breath and a cry’. And his final offering, Not I (1973), is no more than a ‘brief, fragmented, disembodied monologue delivered by an actor of indeterminate sex of whom only the “Mouth” is illuminated’.
在这一切中，我们可能不可避免地感觉到，几千年来通过神话传说、戏剧和小说为人类提供最丰富的单一意义的讲故事传统，最终被吸进了黑洞。虚无的。事实上，没有人比贝克特本人在他著名的观察中更雄辩地表达了这种已经达到某种最终的意义空虚的感觉：
In all this we might inescapably have the sense that the tradition of storytelling, which through myths and legends, plays and novels, had for thousands of years provided mankind with its richest single store of meaning, was at last being sucked down into a black hole of nothingness. Indeed, no one expressed this sense of having reached some final void of meaning more eloquently than Beckett himself, in his famous observation:
“我们无话可说，除了我们无话可说。”
‘we have nothing to say, except that we have nothing to say.’
我们不仅在文学中可以看到类似的死胡同。在20世纪的艺术中，随着具象图像开始溶解为纯粹的抽象主义，类似的过程最终在1950年，即《等待戈多》出现的三年前，出现了一幅只不过是黑色画布的绘画。该书的创造者、美国抽象表现主义画家阿德·莱因哈特 (Ad Reinhardt) 写道：
It was not only in literature that we can see a similar dead end being reached. In twentieth-century art, as the figurative image had begun to dissolve into pure abstractionism, a similar process had finally led by 1950, just three years before the appearance of Waiting for Godot, to a painting which was no more than a black canvas. In words remarkably evocative of Beckett’s own, its creator, the American abstract expressionist Ad Reinhardt, wrote:
“一个艺术家……总是无话可说，他必须一遍又一遍地说。”
‘An artist ... has always nothing to say and he must say that over and over again.’
1952年，正当贝克特创作他最著名的戏剧时，音乐也陷入了同样的死胡同，美国作曲家约翰·凯奇创作了他的著名作品《4.33》，其中只有四分三十三秒的沉默。
In 1952, just when Beckett was writing his most famous play, much the same dead end was reached in music, when the American composer John Cage produced his famous work ‘4.33’, consisting solely of four minutes and thirty-three seconds of silence.
当然，二十世纪的故事讲述中表达自我与本我的分离的方式远不止于此。其中最明显的将是下一章的主题。但不仅仅是在“严肃文学”中，例如契诃夫和普鲁斯特、加缪和贝克特的作品，故事反映了他们的人物和故事本身最终“一事无成”的趋势。它也是在流行的故事讲述中，尽管可能不那么明显，但强烈地出现了。我们将通过回顾二十世纪末三部最成功的好莱坞电影来结束本章。
Of course the separation of the ego from the Self was to be expressed in twentieth-century storytelling in more ways than this. The most blatant of these will be the subject of the next chapter. But it was not only in ‘serious literature’, such as the works of Chekhov and Proust, Camus and Beckett, that stories reflected this tendency for their characters and the story itself to end up ‘going nowhere’. It also emerged strongly, though perhaps less obviously, in popular storytelling. And we shall end this chapter by looking at three of the most successful Hollywood films of the late-twentieth century.
不那么亲密的相遇
Not so close encounters
作为二十世纪末最成功的通俗故事讲述者，史蒂文·斯皮尔伯格的吸引力很大程度上在于他的电影以壮观的方式利用了一些伟大的故事讲述主题，例如探索、战胜怪物和寻找埋藏的宝藏。
Much of the appeal of Steven Spielberg, as the most successful popular storyteller of the late twentieth century, lay in the spectacular manner in which his films exploited some of the great archetypal themes of storytelling, such as the Quest, the overcoming of monsters and the hunt for buried treasure.
他的第一部科幻电影《第三类接触》（1977 年）以在美国沙漠中的一场巨大沙尘暴中发现了七架第二次世界大战时期的战斗机作为开场，这些战斗机于 1945 年与飞行员一起神秘失踪。没有飞行员的踪迹，但令发现者感到困惑的是，这架飞机就像新的一样，没有一丝生锈的痕迹。甚至他们发动机中的机油仍然是新鲜的。
His first science-fiction film Close Encounters of the Third Kind (1977) opens with the discovery in the American desert, in the middle of a mighty sandstorm, of seven World War Two fighter planes, which had mysteriously disappeared with their pilots in 1945. There is no sign of the pilots, but what puzzles their finders is that the aircraft are as good as new, without a trace of rust. Even the oil in their engines is still fresh.
不久之后的一个晚上，美国大部分地区都对天空中非凡的灯光和数十个“不明飞行物”的出现感到惊讶。然后我们的注意力集中在三个人身上：英雄，一名电气修理工，与家人住在印第安纳州；女主角是一位离过婚的艺术家；还有一个孩子，她的小儿子。有一个令人毛骨悚然的场景，女主角和她儿子住的房子被超凡脱俗的光线照亮，他卧室里的所有玩具都开始自行移动。显然，除了自然力量之外还有其他因素在起作用。家用机器开始摇晃，但相当无害且没有损坏。小男孩微笑着走出房子，朝那神秘的光芒的来源走去，然后消失了。
One night shortly afterwards, much of America is amazed by extraordinary displays of lights in the sky, and the appearance of dozens of ‘unidentified flying objects’. Our attention is then focused on three people: the hero, an electrical repairman, who lives with his familiy in Indiana; the heroine, a divorced artist; and a child, her young son. There is an eerie scene when the house occupied by the heroine and her son is illuminated by unearthly light, and all the toys in his bedroom begin moving about by themselves. Obviously some more than natural power is at work. Household machines begin to shake, but quite harmlessly and without breaking. The little boy walks out of the house towards the source of the unearthly light, smiling, and disappears.
第二天，男女主角完全独立地开始痴迷地尝试制作一座形状奇特的山的模型和图片。他们的行为方式也很奇怪，就好像他们被某种超越自身的力量所附身，就像当他开始从窗户往屋外扔垃圾一样。然后，他们仍然独立地在电视新闻广播中看到了一张令他们着迷的山的照片。它被称为魔鬼峰，位于怀俄明州，从新闻报道来看，那里似乎正在发生一些非常奇怪的事情。
The following day, quite independently, the hero and the heroine both begin obessively trying to make models and pictures of a strangely shaped mountain. They behave in other odd ways, as if they are possessed by some power beyond themselves, as when he starts throwing rubbish which should be outside his house in through the windows. Then, still independently, they both see on a television newscast, a picture of the mountain they have become obsessed by. It is called Devil’s Peak, in Wyoming, and it seems from the news report that something very odd is going on there.
两人立刻知道，他们必须将前往魔峰作为他们人生中最重要的事情。因此，故事变成了一次探索，在通往遥远目标的旅程中，他们相遇并联手。当他们到达那里时，美国政府用栅栏和警卫封锁了道路，但不知为何他们被允许进入，到了陡峭的山脚下，夜幕降临时，他们目睹了惊人的奇观。一架巨大的、显然是外星的机器，呈圆形，闪闪发光，在一条似乎是美国政府准备的特殊机场上滑过山脉和陆地。以某种从未解释过的方式，政府和这场令人惊叹的行星际技术展示背后的生物之间似乎存在着联系。
Both know at once that they must set out for Devil’s Peak as the most important thing in their lives. The story thus becomes a Quest, and along their journey to the distant goal they meet and join forces. When they get there, the way has been barred by the US Government with fences and guards, but for some reason they are allowed in, to the foot of the precipitous mountain, where, as night falls, they witness an astonishing spectacle. A gigantic, obviously extra-terrestrial machine, round and glowing with light, glides in over the mountain and lands – on a special airstrip which it seems has been prepared by the US Government. In some way never explained, there seems to be contact between the government and the beings behind this awesome display of interplanetary technology.
然后，男女主人公走近这艘巨大的飞机，看到从里面出来的，首先是她的儿子，然后是上一代人失踪的飞机的七名飞行员。就像他们的飞机一样，很明显它们比消失时还没有老一天。他们从经历中回来时完全没有改变。然后，从宇宙飞船发出的超凡光芒中，出现了外星生物本身，就像微笑的人类胎儿一样。他们对美国政府的科学家微笑，仿佛表明他们认识他。然后男主角走上前去，独自进入宇宙飞船，留下女主角和孩子。他们黯然踏上回家的路，故事就此结束。
The hero and heroine then approach the colossal craft and see, coming out of it, first her son, then the seven pilots of the planes which had disappeared a generation before. Like their aircraft, it is evident that they are not a day older than when they vanished. They have returned from their experience completely unchanged. Then, out of the unearthly light emanating from the spaceship, come the extra-terrestrial beings themselves, like little, smiling human foetuses. They smile to the scientist from the US Government, as if to indicate that they know him. The hero then steps forward and goes off into the spaceship alone, leaving the heroine and the child behind. Forlornly they set off on their journey home, and the story ends.
这个奇怪的悬而未决的故事包含许多让我们觉得特别奇怪和发人深省的特征。在开场场景中，我们期待着一些极其重要的、改变世界的事件即将发生。奇迹般的迹象——沙漠中发现的未受破坏的飞机、天空中的灯光——似乎表明某种惊人的超自然力量正在发挥作用。起初我们不知道它是敌对的还是友好的，是黑暗的还是光明的，尽管小男孩快乐地走进超凡脱俗的光明的方式似乎表明它是良性的。
This curiously unresolved story includes a number of features which may strike us as particularly odd and revealing. In the opening scenes, our expectation is built up that some tremendously important, world-changing event is about to take place. There are miraculous signs – the untouched aircraft found in the desert, the lights in the heavens – which seem to indicate that some stupendous supernatural power is at work. At first we do not know whether it is hostile or friendly, dark or light, although the way the little boy goes off happily into the unearthly light seems to suggest it is benign.
当男女主人公分别被强迫去追求的时候，我们在接下来的故事中所有古老的本能告诉我们，他们即将经历一些伟大的、改变生活的经历，与这个巨大但又巨大的遭遇。这是一种良性的、因此能够重生的力量，它选择干预世俗事务，并为他们挑选出独特的命运。他们追求的目标是一座山，这一事实强调了这一点，在世界的故事讲述中，这座山经常是自我的象征。
At the point where the hero and heroine separately become possessed by the compulsion to set off on their quest, all our ancient instincts in following stories tell us that they are about to undergo some great, life-transforming experience, an encounter with this colossal but benign and therefore life-renewing power, which has chosen to intervene in worldly affairs and has singled them out for a unique destiny. This is underlined by the fact that the goal of their quest is a mountain, which so often in the storytelling of the world is a symbol of the Self.
但已经有警告称，这个故事可能会带来不如其承诺的效果，尤其是这座山的名字“魔鬼峰”。当他们到达时，他们发现这座山对其他普通凡人来说都是障碍，但他们被某种特殊的特许允许通过，仿佛强调他们特殊的命运（“只有真正的英雄或女英雄才能通过的考验”）。巨大的宇宙飞船的到来将某种即将发生的伟大转变的感觉推向了高潮：天空中巨大、圆形、发光的物体，它再次成为自我及其令人敬畏的力量的经典象征。但随后，警告信号接二连三地出现，表明一切不会像现在这样发展。
But already there are warnings that the story may turn out to deliver less than it promises, not least the mountain’s name, Devil’s Peak. When they arrive, they find the mountain surrounded by barriers to others, ordinary mortals, but they are let through by some special dispensation, as if to underline their special destiny (‘the test which only the true hero or heroine can pass’). The sense of some impending great act of transformation is brought to a climax by the arrival of the huge spaceship: the great, round, glowing object in the heavens, which again is a classic symbol of the Self in all its awesome power. But then the warning signs that all is not going to turn out like this come thick and fast.
飞行员们在经历了神秘的冒险之后，从宇宙飞船中出来，完全没有变化（在影片开始时，飞机的不变状态实际上是第一个警告信号）。外星人的出现，并不是超人、神一般的人物，而是看起来像未出生的人类孩子。最重要的是，男主人公独自登上了宇宙飞船，与女主人公分开了，女主人公可能和他自己一样被召唤来参加这次任务。未实现的，阿尼玛-人物离开家，伴随着重生的另一个伟大象征——孩子；因此，英雄最终与故事讲述中的两个主要救赎人物分开。我们不再有任何迹象表明，当他踏上那艘宇宙飞船时，任何真正重要的事情都会发生在他身上，就像发生在飞行员身上的事情一样。
The pilots emerge from the spaceship, after their unearthly adventure, completely unchanged (right at the start of the film, the unchanged state of the aircraft had in fact been the first warning sign). The extra-terrestrial beings emerge, not as superhuman, god-like figures, but looking like unborn human children. Most significant of all, the hero steps up into the spaceship alone, parted from the heroine, who presumably had been as much called to the Quest as himself. Unfulfilled, the anima-figure goes off home, accompanied by that other great symbol of Rebirth, the Child; so that the hero ends up separated from both the two chief redeeming figures in storytelling. We no longer have the slightest indication that, when he steps up into that spacecraft, anything of real significance will happen to him, any more than it has done to the pilots.
换句话说，这个故事反复讲述了救赎和转变的所有最深刻的原型象征意义。然而，因为它已经脱离了它的内在意义，除了大量玩弄幻觉的电影技巧之外，什么都没有真正发生。如果说我们从故事中学到的最重要的一课，那就是故事结尾男女主人公完全结合在一起的中心象征意义。如果由于某种原因男女主人公最终没有在一起，这总是告诉我们有些事情出了严重的问题。这部电影的标题极具讽刺意味，因为它的主要角色，尤其是男女主角，实际上都没有与任何人有过“亲密接触”。除了母子之外，每个人都与其他人保持分离。
In other words, the story has harped on about all the most profound archetypal symbolism of redemption and transformation; yet, because it has been divorced from its inner meaning, nothing really happens at all, apart from a lot of playing with the cinematic tricks of illusion. If there is one lesson above all we learn from stories it is the central symbolic significance of the hero and the heroine being brought together in complete union at the story’s end. If for any reason a hero and heroine do not end up together, this always tells us that something has gone seriously amiss. And the film’s title is tellingly ironic in that none of its main characters, least of all the hero and heroine, in fact have a ‘close encounter’ with anyone. Apart from mother and son, everyone remains split off from everyone else.
当故事植根于原型时，故事的第二个最重要的教训是它们是关于个人转变的。这就是所有基本情节的主题：男女主人公从一种状态到另一种状态时的内心变化。当罗马诗人奥维德写下关于神话的《变形记》一书，书中展示了神话的中心人物以某种根本的方式发生了转变或“变形”时，他必须囊括希腊罗马神话中几乎每一个重要的故事，因为它们中的每一个都表现出它的男主角或女主角从一件事变成了另一件事。然而在近距离接触中没有人发生任何改变；其根本原因不知不觉地反映在那个奇怪的情节中，当时英雄觉得有必要把屋外的所有垃圾都从窗户扔进去。仿佛占据他的力量试图告诉他，“外”的一切都应该是“内”的。这正是误入歧途的地方，不仅是这部电影，还有我们这个时代的许多其他故事。它们在幻想的层面上向外投射出各种各样的事物，而这些事物只有在内在的层面上被象征性地看待时才能变得真实且赋予生命。但这正是当故事的想象变得以自我为中心时所发生的情况，
The second supreme lesson of stories, when they are rooted in the archetypes, is that they are about personal transformation. This is what all the basic plots are about: the inner change in the hero or heroine as they are led from one state to another. When the Roman poet Ovid wrote his book the Metamorphoses about myths which showed their central figure being in some fundamental way transformed, or ‘metamorphosed’, he had to include almost every important story in the Graeco-Roman mythology, because every one of them shows its hero or heroine being changed from one thing to another. Yet in Close Encounters no one is changed at all; and the fundamental reason for this is unwittingly reflected in that curious episode when the hero feels compelled to throw all the rubbish which is outside his house in through the windows. It is as if the power which possesses him is trying to tell him that everything which is ‘outside’ should be ‘inside’. This is precisely what has gone astray, not just with this film but with so many other stories of our time. They project outwardly, on a fantasy level, all sorts of things which can only beome real and life-giving when taken symbolically, on an inward level. But this is precisely what happens when the imagining of stories becomes centred on the ego, rather than rooted in that level of the unconscious where the archetypal patterns of storytelling are trying to lead us up to wholeness and connect us with our inmost Self.
不那么超人
Not so Superman
当然，漫画英雄超人的决定性特征使他成为二十世纪流行文化的伟大偶像之一，那就是他是两个人合而为一。从克拉克·肯特的外在形象来看，他再普通不过了，是普通人的缩影。但当我们把他视为完整的英雄原型时，他就可以转变为另一个自我：超自然的强大，但他的力量赋予了生命，因为它致力于拯救无助的人，为社区而战，纠正世界的错误。他的吸引力的秘密恰恰在于，他似乎体现了所有人最基本的原型：在每个人的外在、有限的自我人格中，都隐藏着内在真实的、内在的自我的潜力。但当 1978 年好莱坞将《超人》搬上银幕时，
The defining characteristic of the comic strip hero Superman, of course, which made him one of the great icons of twentieth-century popular culture, is that he is two people in one. In his outward persona, as Clark Kent, he could not be more ordinary, the epitome of Everyman. But he can then be transformed into his other Self, when we see him as the complete archetypal hero: supernaturally strong, but with his strength made lifegiving, because it is dedicated to saving the helpless, battling for the community and righting the world’s wrongs. The secret of his appeal is precisely that he seemingly embodies the most fundamental archetype of all: that in each human being the outward, limited, egopersona is hiding the potential for the true, inner Self within. But when Hollywood translated Superman onto the cinema screen in 1978, we see how sadly the archetype disintegrated.
故事的开头就其象征意义来说是神话般的。2在氪星上，旧秩序正在消亡。一位身着飘逸长袍、威风凛凛、近乎神明的智者老人（马龙·白兰度饰）警告统治委员会中那些年老而漠不关心的成员，末日即将来临，他们的世界很快就会爆炸。这就是我们在故事开始时经常看到的熟悉的情况，统治秩序正在腐朽和注定要灭亡，救赎的唯一希望在于一个新的年轻英雄的出现。智者老人和他的妻子将他们尚在襁褓中的儿子送到遥远的地球，在那里他被居住在美国中部农场的人类父母收养。这无疑是“上帝”派他的儿子来到人间，来到一个普通卑微的家庭，长大并拯救人类的原型回响。
The opening of the story is mythic in its symbolism.2 On the planet Krypton, the old order is dying. An imposing, almost god-like Wise Old Man in flowing robes (played by Marlon Brando) warns his elderly and unheeding fellow-members of the ruling council that the end is nigh, and that their world will soon explode. It is that familiar situation we see so often at the start of a story, where the ruling order is decaying and doomed, and the only hope of redemption lies in the emergence of a new young hero. The Wise Old Man and his wife send their infant son to the distant planet Earth, where he is adopted by human parents living on a Middle American farmstead. There is the unmistakable archetypal echo of ‘God’ sending his son down to earth, to an ordinary humble family, to grow up and save mankind.
从表面上看，这个小伙子就像一个普通的美国男孩一样。但当他十几岁的时候，第一次与女孩发生尴尬的遭遇时，他觉得有必要炫耀一下，然后跑回家，速度比汽车或火车还快。他的尘世“父亲”在临终前告诉他，他一定是“为了某种目的”被送到地球上的。夜里听到声音，他被吸引到谷仓，在那里看到一根神奇的水晶棒在黑暗的地下洞里闪闪发光。这是他作为一个男人的命运觉醒的标志，在与“妈妈”道别后，他踏上了前往北极的长途旅行，在那里的冰洞中，他遇到了他真正的父亲的幻象，接受成年仪式。
Outwardly the young lad seems just like any ordinary American boy. But when, as a teenager, he has his first embarrassing encounter with a girl, he feels the need to show off, and runs home faster than a car or train. His earthly ‘father’, just before dying, tells him he must have been sent to earth ‘for a purpose’. Hearing voices in the night, he is drawn to the barn, where sees a magical rod of crystal glowing in the darkness of a hole in the ground. It is a sign of his awakening destiny as a man, and he goes off, after a touching farewell to ‘Mom’, on a long journey to the North Pole, where in caves of ice he meets a vision of his real Father, to undergo an initiation rite into manhood.
事实上，他不像以前那样自信和男子气概，就像克拉克·肯特一样，他是大城市大都会的粗俗报纸记者。他对他所吸引的女记者路易斯特别不自在。但当路易斯被困在摩天大楼顶上，乘坐一架即将倒在街上的直升机时，我们第一次看到他变成了超人。他猛扑上去将她从死亡线上救了出来，这一壮举让全城的每个人都震惊了。这位神奇的“超人”是谁？路易斯以超人的角色采访了他，他们在云中飘浮，交换着粘糊糊的感伤陈词滥调。
In fact, he emerges less confident and manly than before, as Clark Kent, the gauche newspaperman in the great city of Metropolis. He is particularly ill-at-ease with Lois, the girl reporter to whom he is attracted. But when Lois gets trapped on top of a skyscraper, in a helicopter which is just about to topple into the street, we see him for the first time transformed into Superman. He swoops up to snatch her from death, in a feat which leaves everyone in the city stunned. Who is this amazing ‘Superman’? Lois interviews him in his Superman role and they float around in the clouds, exchanging gooey sentimental platitudes.
现在我们遇到了故事中的怪物人物，一个超级罪犯，住在城市地下的豪华巢穴中，策划着一场巨大而邪恶的犯罪。他计划将两枚核火箭改道降落在加利福尼亚州，其中一枚瞄准圣安德烈亚斯断层，旨在引发一场地震，使该州的沿海地带塌陷入海。买下了断层以东的大部分土地后，他将变得非常富有。当路易斯远在沙漠中调查他秘密购买的土地时，超人落入了超级恶棍的魔爪，在千钧一发之际被恶棍的女友伊娃救了出来。谁被他吸引了。在“惊心动魄的逃脱”之后，他迅速起飞，但来不及阻止其中一枚火箭爆炸，引发了巨大的地震。他凭借超人的壮举成功阻止了圣安德烈亚斯断层的分裂，但他无法阻止路易斯被吞没并压死。至此，故事的典型象征意义终于完全失控了。
We now meet the story’s Monster-figure, a super-criminal who lives in a luxurious lair beneath the city, plotting an immense and diabolical crime. He plans to redirect two nuclear rockets to land on California, one targeted on the San Andreas fault, intended to trigger off such an earthquake that the coastal strip of the state will collapse into the sea. Having bought up much of the land to the east of the fault, he will then be fabulously rich. While Lois is away in the desert, investigating his secret land purchases, Superman falls into the super-villain’s clutches, and is only rescued from death in the nick of time by the villain’s girlfriend, Eva, who is attracted to him. After his ‘thrilling escape’ he zooms off, too late to stop one of the rockets exploding, setting off huge earthquakes. By a superhuman feat he manages to stop the San Andreas fault splitting apart, but he cannot stop Lois being engulfed and crushed to death. And at this point the archetypal symbolism of the story finally goes completely haywire.
超人至少拯救了大部分“王国”，但他还没有克服“阴影”和阿尼玛死了。从这个意义上说，“影子”赢了。但超人随后使用他的超自然力量拯救了露易丝，作为他新的附属阿尼玛形象，却惊恐地意识到他做了一件被他的父亲禁止做的事情。通过将路易斯从毁灭中拯救出来，他“干预了人类历史”。他羞愧地盘旋上升到太空，影片以他绕地球旋转的画面结束。即使从表面上看，这些都没有意义。为什么拯救露易丝应该构成对人类历史的干涉，而不是超人的其他壮举？除了干涉历史之外，他被派到地球上来到底是为了什么？失去一个阿尼玛形象并拯救另一个阿尼玛形象，这是什么样的结局，
Superman has at least saved most of the ‘kingdom’, but he has not overcome the ‘shadow’ and the anima is dead. In this sense the ‘shadow’ has won. But Superman then uses his supernatural powers to save Lois, as his new subsidiary anima-figure, only to realise to his horror that he has done the one thing he has been forbidden to do by his Father. By saving Lois from destruction, he has ‘interfered in human history’. In shame he spirals off up into space, and the film ends on an image of him whizzing round the Earth spinning far below. Even in superficial terms, none of this makes sense. Why should saving Lois constitute interference in human history, any more than Superman’s other feats? What had he been sent to earth for in the first place, except to interfere in history? And what sort of an ending is it that, having lost one anima-figure and saved another, he cannot then be united with Lois but must hurtle off into space to behave like the Flying Dutchman?
当然，关键在于，尽管这位英雄外表上是超人，但他根本就不是一个真正的人。他只是一个二维的幻想人物，是从婴儿期的虚构中转出来的。他无法以任何成熟的方式与女性建立联系，无论是在他粗俗的克拉克·肯特角色中，还是在他虚构的超人角色中：这就是为什么他最终会失去他的阿尼玛是完全合乎逻辑的。到“影子”，尽管他随后拯救了第二个阿尼玛人物，但他最终没有与他结合。就原型象征意义而言，这种绝望的缺乏解决方案使得故事应该以这个“无法长大的小英雄”围绕地球徒劳地盘旋的形象结束，这是完全合乎逻辑的，因为这正是他所拥有的成为：一个分裂的自我，无力地围绕着自我；他不再希望与之接触的整体形象。它完美地象征了故事中所有的错误。
The key, of course, lies in the fact that, despite his outward guise as Superman, the hero has never been properly a man at all. He is just a two-dimensional fantasy figure, spun out of infantile make-believe. He is unable to relate in any grown-up way to the feminine, either in his gauche Clark Kent persona or in his make-believe Superman-role: which is why it is entirely logical that he should end up losing his anima to the ‘shadow’, even though he then saves a second anima-figure with whom he does not end up united. In terms of archetypal symbolism, such a hopeless lack of resolution makes it entirely logical that the story should end on the image of this little ‘boy hero who cannot grow up’ spiralling in futile circles round the Earth, because this is precisely what he has become: a split-off ego circling impotently round the Self; an image of the wholeness with which he no longer has any hope of making contact. It perfectly symbolises all that has been wrong with the story.
ET：来自外太空的“自我”
E.T.: The ‘Self’ from outer space
即使在好莱坞的梦工厂中，当然有时故事也会与潜在的原型产生更深入的联系。通过对比这样一个例子来结束本节可能会很有启发性，尽管这仍然是一个主要在情感层面上构思的故事。当然，将一个有着宽大的球根头、巨大的眼睛、长长的脖子和坚韧的皮肤的丑陋小怪物变成现代流行故事中最可爱的角色之一，这是一项了不起的成就。但当我们考虑史蒂文·斯皮尔伯格的《外星人》 （1982）中的中心人物真正代表什么时，他的吸引力就完全可以理解了。
Even in the Hollywood dream factory, there are of course times when a story makes rather deeper contact with the underlying archetypes. And it may be illuminating to end this section by looking at one such example, by way of contrast, even though this was still a story primarily conceived on no more than a sentimental level. Certainly it was a remarkable achievement to turn a hideous little monster with a wide, bulbous head, huge eyes, a long neck and leathery skin into one of the most lovable characters in modern popular storytelling. But when we consider what the central figure of Steven Spielberg’s E.T. (1982) really represents, his appeal becomes wholly comprehensible.
影片在夜间开始，一艘外星飞船降落在加利福尼亚州的森林中，研究地球上的植物生命。其船员的研究被中断一群政府科学家和官员看到了他们的黑色剪影，外星人冲回飞船逃跑。但其中一个被留下了。
The film opens at night with an extra-terrestrial spaceship landing in a Californian forest to study earthly plant-life. Its crew’s researches are interrupted by a pack of government scientists and officials, seen menacingly in black silhouette, and the aliens rush back to their spacecraft to escape. But one of them is left behind.
然后我们在附近小镇的家中见到了故事的主人公，10 岁的埃利奥特，他被排除在他哥哥和三个朋友玩的游戏之外。当他们骗他出去时，他向车库扔了一个球，当球被扔回给他时，他吓了一跳。回到家中，埃利奥特无意间告诉母亲，他们的父亲最近离开家，和他的新女友去了墨西哥，他与家人的孤立感只会加深。这让他的母亲哭了，而他的哥哥也因为他的不圆滑而大发雷霆。艾略特是一个看似世界上没有朋友的男孩，但他即将找到一个朋友。
We then meet the hero of the story, 10-year old Elliott, at his home in a nearby town, being excluded from a game played by his older brother and three friends. When they trick him into going outside, he throws a ball into the garage and is startled when it is thrown back at him. Back inside, the sense of Elliott’s isolation from his family only deepens when, unwittingly, he lets on to his mother that their father, who has recently left home, has gone to Mexico with his new girlfriend. This makes his mother cry, and his elder brother furious at him for being so tactless. Elliott is a boy seemingly without a friend in the world, but he is about to find one.
那天晚上，睡在外面的埃利奥特被扭打声打扰，打开手电筒，第一次看到了这位非凡的小外星访客。起初他很害怕，但这个生物轻轻地向前移动，用细长的手指触摸他。它非但没有带来威胁，反而提供了友谊，就像弗兰肯斯坦的怪物将他从睡梦中唤醒一样。但是，与弗兰肯斯坦不同的是，埃利奥特做出了回报，保护性地将“外星人”带进屋，把他藏在卧室里。两人开始尝试交流，外星人很快就模仿了埃利奥特所做的一切。第二天，埃利奥特让他的兄弟和妹妹透露了这个秘密，并让他们发誓保守秘密，所以他们现在是一个三人的阴谋，由以前被排除在外的埃利奥特领导。
That night, sleeping outside, Elliott is disturbed by scuffling noises, turns on his torch and for the first time sees the extraordinary little extra-terrestrial visitor. At first he is terrified, but the creature moves gently forward to touch him with its elongated fingers. Far from being threatening it is offering friendship, rather like Frankenstein’s monster when it wakes him from sleep. But, unlike Frankenstein, Elliott reciprocates, protectively leading the ‘alien’ into the house to hide him in his bedroom. The two begin trying to communicate, with the alien quick to copy everything Elliott does. Next day, Elliott lets his brother and younger sister into the secret, swearing them to secrecy, so they are now a conspiracy of three, led by the formerly excluded Elliott. And they soon discover between them that his new alien friend commands miraculous and life-giving powers.
最大的惊喜是，外星人似乎与埃利奥特建立了一种非凡的心灵感应共鸣，因此当男孩在学校，外星人喝醉了家里冰箱里的啤酒时，埃利奥特在办公桌前也感觉喝醉了。虽然这一行为以及进一步的心灵感应引起的行为让埃利奥特陷入了学校当局和他母亲的麻烦，但他的妹妹正在教外星人说话。带着耻辱回到家后，埃利奥特很快就教他的另一个自我重复他的新名字“ET”，这是埃利奥特自己名字的回声。然后他们得知，外星人首先想联系他遥远的行星家园，因为他重复着他哀伤的新短语“外星人，打电话回家”。
The biggest surprise is that the alien seems to have established an extraordinary telepathic sympathy with Elliott, so that when the boy is at school, and the alien gets drunk on beer from the fridge back home, Elliott feels drunk at his desk. While this and further telepathically-induced actions are landing Elliott in trouble with the school authorities and his mother, his young sister is teaching the alien to speak. Having returned home in disgrace, Elliott is soon teaching his alter-ego to repeat his new name, ‘E.T.’, an echo of Elliott’s own name. They then learn that E.T. above all wants to contact his far-off planetary home, as he repeats his plaintive new phrase ‘E.T., phone home’.
原因之一是外星人由于接触了地球上的生命而开始生病。他利用自己的超级智慧建造了一部无线电话，万圣节派对结束后，他和埃利奥特将其带到森林中使用，而外星人则展示了他的力量，可以让埃利奥特的自行车神奇地升入夜空。但当男孩未能回家时，他的母亲打电话给当局，我们现在进入了故事的“噩梦阶段”。首先，外星人似乎正在消亡。然后，穿着宇航服、毫无人情味的官员和科学家前来抓捕他。最后，他和埃利奥特并排躺在床上，连接着一组生命支持和监测设备，不仅是为了研究快速下沉的外星人本身，也是为了研究他们之间的共生关系，这使得悲伤的埃利奥特几乎同样生病了作为他的朋友。
One reason for this is that E.T. is beginning to sicken, from his exposure to life on Earth. He uses his super-intelligence to build a radio-telephone, and after a Hallowe’en party he and Elliott take it into the forest to use it, with E.T. demonstrating his power to make Elliott’s bicycle rise magically into the night sky. But when the boy fails to return home, his mother calls the authorities, and we now move into the ‘nightmare stage’ of the story. First, E.T. seems to be dying. Then menacingly impersonal, space-suited officials and scientists move in to capture him. Finally, he and Elliott are laid out side by side, wired up to a battery of life-support and monitoring devices, not just to study the fast-sinking E.T. himself but the symbiosis between them, which is making the grieving Elliott almost as ill as his friend.
在故事中以如此具有威胁性、无情的方式描绘的所有成年人中，只有一位科学家，凯斯，表现出了真实的态度。温暖和理解。当外星人死后，他的尸体被放在密封容器中的冰上，凯斯建议埃利奥特，现在共生关系被打破，突然感觉好多了，可能想和他单独在一起，然后外星人被带走。解剖的。埃利奥特透过集装箱的检查窗往里看，从他发出的“心光”中看到他的朋友奇迹般地复活了。他向他的兄弟寻求帮助，当集装箱被运走时，他们劫持了货车，由哥哥驾驶，而埃利奥特则从他的冰冻棺材中释放了外星人。更多骑着自行车的年轻朋友加入了他们的行列，进入森林，形成戏剧性的“追逐场面”，同时遭到一群警察和官员的穷追不舍。当他们的道路被警察路障挡住时，他们得救了，感谢外星人 的魔力，他们的自行车简直就飞起来了。他们到达了空地，宇宙飞船正准备降落，准备将外星人带回家。当ET向他的朋友们告别时，有一个感人的告别场景。现在，这些人不仅包括埃利奥特、他的兄弟姐妹和其他孩子，还包括两个成年人：埃利奥特的母亲和站在她旁边的友好科学家凯斯。然后飞船飞走了，在天空中留下一道彩虹。站在她旁边。然后飞船飞走了，在天空中留下一道彩虹。站在她旁边。然后飞船飞走了，在天空中留下一道彩虹。
Alone among all the grown-ups who are portrayed in such a threatening, unfeeling way through the story, there is one scientist, Keys, who shows real warmth and understanding. And when E.T. dies, and his body is placed on ice in a sealed container, Keys suggests that Elliott, who, now the symbiosis is broken, suddenly feels much better, might like to be alone with him, before E.T. is taken away to be dissected. Elliott looks in through the inspection-window of the container, and sees from his glowing ‘heart light’ that his friend has miraculously returned to life. He recruits help from his brother and, when the container is being taken away, they hi-jack the van, with older brother driving while Elliott releases E.T. from his frozen coffin. They are joined by more young friends with bicycles and head off into the forest in a dramatic ‘chase sequence’, as they are hotly pursued by a horde of police and officials. When their path is blocked by a police barrier, they are saved when, thanks to E.T.’s magic powers, their bicycles simply fly up over it. They arrive at the clearing where the spaceship is just descending to take E.T. back home. There is a touching farewell scene, when E.T. says goodbye to his friends. And these now include not just Elliott, his brother and sister and the other children, but also two grown-ups: Elliott’s mother and the friendly scientist Keys, standing beside her. The spacecraft then soars away, leaving a rainbow across the sky.
这个故事与我们在本章中看到的任何其他故事的不同之处在于，随着它的展开，我们看到一个真正的转变过程正在发生。这位年轻的英雄开始在一个被父亲自私地抛弃的阴影下的家庭中，孤独而被排斥。当这个奇怪的外星生物到来时，所有正常反应都表明他应该被视为可怕的威胁而被拒绝。但是，当“怪物”表现得友好，埃利奥特也做出同样的反应时，就像民间故事中的小英雄给动物或他在森林里遇到的“小人”提供食物的时刻一样。在确定英雄有一颗善良的心的同时，这给他带来了一个盟友，而这个盟友将成为他得救的关键。事实上，我们很快就会看到 ET 正是埃利奥特需要发现自己并发展新的、对自己的身份有更深刻的认识。外星人所做的一切都是赋予生命和良性的，从这个意义上说，他不仅仅是艾略特的另一个自我：他代表了自我的整合力量。由于他的影响力，埃利奥特发现了自己的新优势并成为了一名领导者。他分裂的家庭逐渐团结在一起，直到最后，当外星人离开时，他们不仅都因对他的爱而团结在一起：埃利奥特的母亲现在完全融入了这个团结的过程，她身边有一个新男人，一个成年人。在故事中，他的行为不像一个爱管闲事的机器人，而是表现出了真正的人类理解力。他是否会成为新的“光明”父亲来取代已经离开的“黑暗”父亲，我们不得而知。3
What makes this story different from any other we have looked at in this chapter is that, as it unfolds, we see a genuine process of transformation taking place. The young hero begins, alone and excluded, in a family under the shadow of his father having selfishly abandoned them all. When this weird alien creature arrives, all normal responses dictate that he should be rejected as a terrifying threat. But when the ‘monster’ behaves in a friendly fashion, and Elliott responds likewise, it is like one of those moments in a folk tale when a little hero gives food to the animal or ‘the little man’ he meets in the forest. In establishing that the hero has a kind heart this brings him an ally who is to be the key to his salvation. Indeed we soon see that E.T. is precisely the ‘Alter-Ego’ Elliott needs to discover himself and to develop a new, deeper sense of his own identity. Everything E.T. does is life-giving and benign and, in this sense, he is more than just Elliott’s Alter-Ego: he represents the integrating power of the Self. Thanks to his influence, Elliott finds new strengths in himself and becomes a leader. His divided family gradually knits together, until finally, when E.T. departs, not only are they all united in their love of him: Elliott’s mother is now fully integrated with this unifying process, with a new man by her side, the one grown-up in the story who has not behaved like an officious automaton and has shown true human understanding. Whether or not he will become the new ‘light’ father to replace the ‘dark’ father who has departed, we cannot know. But what is certain is that Elliott and his family have all been changed for the better by this lovable embodiment of the Self which has come into their midst and now vanished again.3
因此，尽管这可能只是好莱坞多愁善感的另一个例子，自我借用了自我的价值观，但斯皮尔伯格的电影至少比《近距离接触》或《超人》更加真正地解决了问题。事实上，从原型的角度来看，它提供了比契诃夫、普鲁斯特、贝克特的戏剧或本章中的任何其他故事更实质性的结局。因为它们的伪结局，无处可去，是仅由自我编造的故事所能希望实现的。
Thus, even though this may only be another example of Hollywood sentimentality, with the ego borrowing the values of the Self, Spielberg’s film at least comes to much more of a genuine resolution than Close Encounters or Superman. In archetypal terms, indeed, it provides a more substantial ending than the plays of Chekhov, Proust, Beckett or any other story in this chapter. Because their pseudo-endings, going nowhere, are all that stories spun from the ego alone can ever hope to achieve.
第二十七章
为什么是性与暴力？积极的自我
二十世纪的痴迷：从德萨德到终结者
Chapter Twenty-Seven
Why Sex and Violence? The Active Ego
The Twentieth-Century Obsession: From de Sade to The Terminator
听到我要说的话，你的灵魂会感到烦恼；
‘T’will vex thy soul to hear of what I shall speak;
因为我必须谈论谋杀、强奸和屠杀，
For I must talk of murders, rapes and massacres,
黑夜的行径，令人发指的行径……”
Acts of black night, abominable deeds ...’
亚伦，泰特斯·安德洛尼克斯，v.1
Aaron, Titus Andronicus, v.1
“Ne coram populo, pueros Medea trucidet”（“美狄亚不得在观众面前杀死她的孩子”）。
‘Ne coram populo, pueros Medea trucidet’ (‘Medea must not kill her children in sight of the audience’).
贺拉斯，诗学艺术
Horace, Ars Poetica
“现代世界的问题在于，性行为发生在大脑上，而大脑是错误的地方。”
‘The trouble with the modern world is that it has sex on the brain, which is the wrong place to have it.’
马尔科姆·马格里奇，20 世纪 60 年代末的不同时期
Malcolm Muggeridge, various times in late 1960s
“我们用幻想喂养心灵，心灵因食物而变得残酷。”
‘We have fed the heart on fantasies, the heart’s grown brutal from the fare.’
WB Yeats，我窗边的凝视巢(1922)
W. B. Yeats, The Stare’s Nest by my Window (1922)
毫无疑问，二十世纪最后几十年西方故事讲述最显着的特征是，它以前所未有的方式被性和暴力意象所主导。当然，从某种意义上说，性和暴力已经成为历史迷雾中的故事内容。通奸、诱惑、乱交、强奸行为一直是世界各地神话的一个显着特征，从古希腊的神话到印度印度教寺庙中描绘的神话。荷马和《旧约》的故事就像伊丽莎白时代英格兰尸横遍野的舞台一样充满了死亡和破坏。即使是二十世纪也无法与莎士比亚最令人毛骨悚然的戏剧《泰特斯·安德洛尼克斯》所描绘的恐怖目录相媲美。。这些情节包括描述英雄的女儿拉维尼娅如何被强奸、双手被砍断、舌头被割掉的情节，以及后来泰图斯割断这些行为的肇事者喉咙，使他们的血流进盆里的场景。拉维尼娅把它夹在她的树桩之间，然后他邀请毫无戒心的母亲参加晚宴，将她儿子的尸体烤成馅饼。
Unquestionably the most striking feature of Western storytelling in the closing decades of the twentieth century was the unprecedented way in which it became dominated by the imagery of sex and violence. In one sense, of course, sex and violence had been the stuff of storytelling back into the mists of history. Adultery, seduction, promiscuity, acts of rape had been a prominent feature of myths all over the world, from those of ancient Greece to those portrayed on the Hindu temples of India. The stories of Homer and the Old Testament were as full of death and destruction as the corpse-laden stages of Elizabethan England. Not even the twentieth century could offer much competition for the catalogue of horrors conjured up by the most chilling of Shakespeare’s plays, Titus Andronicus. These range from the episode describing how the hero’s daughter Lavinia is raped, has her hands cut off and her tongue cut out, to the later scene where Titus cuts the throats of the perpetrators of these deeds, so that their blood runs out into a basin held by Lavinia between her stumps, before he invites their unsuspecting mother to a dinner party to be served with the bodies of her sons baked into a pie.
但即使在这个二十世纪前耸人听闻的耸人听闻的例子中，最令人震惊的事件，即对无辜年轻女孩的预谋强奸和残害，也没有发生在观众面前。按照古老的准则，这将被归类为“淫秽”，字面意思是必须发生的事情，源自拉丁语“ ob scena ”，“舞台外”。正如贺拉斯在他的《诗的艺术》中，美狄亚屠杀她的孩子或阿特柔斯烹调人肉的想法是如此冒犯道德感，以至于尽管这些事情可以由叙述者描述，但它们绝不能公开展示。类似的禁忌，直到二十世纪，普遍适用于性行为表演或女性裸体展览（除了那些被严肃艺术家描绘为“女性形态的理想”的展览）。这些行为在社会上被视为“下线”，仅限于妓院或淫秽表演，其目的非常明确。它们被视为“色情作品”，源自希腊语“ porne ”，“妓女”：专门为激发性欲而设计的图像。
But even in this unusually lurid example of pre-twentieth-century sensationalism, the single most shocking incident, the premeditated rape and mutilation of an innocent young girl, does not take place in front of the audience. In conformity with an age-old code, this would have been categorised as ‘obscene’, literally something which must take place, from the Latin ‘ob scena’, ‘off stage’. As Horace put it in his Art of Poetry, the idea of Medea butchering her children or Atreus cooking a dish of human flesh is so offensive to the moral sense that, although such things can be described by a narrator, they must not be put on public show. A similar taboo, until the twentieth century, generally applied to performances of the sexual act, or exhibitions of female nudity (apart from those depicted as ‘ideals of the female form’ by serious artists). Socially regarded as ‘below the line’, such things were confined to brothels or bawdy shows, where their purpose was quite clear. They were regarded as ‘pornography’, from the Greek word porne, ‘a prostitute’: images designed specifically for the purpose of arousing sexual desire.
二十世纪后几十年讲故事的新鲜之处在于，正是这些性和暴力的物理图像出现在人们的视野中。在戏剧和小说中，尤其是在电影和电视屏幕上的展示中，所有以前被视为“淫秽”的地下图像领域现在都被认为是可以接受的。当然，这只是社会态度更普遍转变的一部分。性唤起图像可以公开展示的新自由绝不仅限于故事。它可以在报纸和广告中、在女性时尚的本质中、在数以百万计的色情杂志中看到。但这一切发生的真正原因是，这是西方心灵两个世纪以来发生的地震转变的完全自然的结果，在这种转变中，自我以前所未有的程度失去了与更深层次的原型框架的联系。自我的。不可避免的是，随着故事越来越多地脱离头脑的幻想层面，以自我为中心，这就是它们终有一天会结束的地方。本章的主题是如何以及为何发生这种情况。
What was new about what happened to storytelling in the later decades of the twentieth century was that it was precisely these physical images of sex and violence which emerged into full view. In plays and novels, above all in its display on cinema and television screens, all that subterranean realm of imagery previously hidden away as ‘obscene’ now came to be regarded as acceptable. Of course, this was only part of a much more general shift in social attitudes. The new freedom with which sexually arousing imagery could be put on public show was by no means confined only to stories. It could be seen in newspapers and advertising, in the nature of women’s fashions, in millions of pornographic magazines. But the real reason why all this came about was that it was an entirely natural consequence of that seismic shift which had been taking place in the Western psyche for two centuries, whereby to an unprecedented degree the ego had been losing contact with the deeper archetypal framework of the Self. Inevitably, as stories came increasingly to be spun out of the fantasy level of the mind, centred on the ego, this was where they would one day end up. How and why this should have come about is the theme of this chapter.
德萨德：女性的堕落
De Sade: The degradation of the feminine
1749 年，英国政府官员约翰·克莱兰 (John Cleland) 写了一部短篇小说，名为《快乐女人回忆录》(The Memoirs of a Woman of Pleasure)，又称范妮·希尔 (Fanny Hill)。故事采用当时早期小说的风格，以一位年轻女子的书信形式呈现，描述了她如何在 15 岁时从乡下来到伦敦，希望发家致富。她在一家高级妓院找到了住处，在那里的第一个晚上，其中一名妓女向她介绍了女同性恋性行为。然后她被允许作为偷窥者，观看一男一女之间的性行为，这促使范妮自己手淫。在与一位因失禁而无法完成与她的生意的好色老客户的尴尬遭遇后，她最终为一位英俊的年轻人查尔斯失去了童贞。对这一刻的期待已久，当它终于到来，她第一次能充分体验到它带来的感觉时，就像故事的高潮一样。事实上，查尔斯对她非常着迷，就像她对他一样，他把她安置在一间公寓里作为他的情妇。但他随后消失在国外，让她失去了亲人，痛苦不堪，没有任何支持。
In 1749 an English government official, John Cleland, wrote a short novel entitled The Memoirs of a Woman of Pleasure, or Fanny Hill. In the style of the early novels of the time, the story is presented in the form of letters from a young woman, describing how she had come up to London from the country at the age of 15, hoping to make her fortune. She finds lodgings in what turns out to be a high-class brothel, where on her first night she is introduced to lesbian sex by one of the prostitutes. She is then allowed, as a voyeuse, to watch the act of sex between a man and a woman, which prompts Fanny herself to masturbate. After an embarrassing encounter with a lecherous old client too incontinent to complete his business with her, she finally loses her virginity to a handsome young man, Charles. There has been such a long build-up of anticipation to this moment that, when it finally arrives and she can fully experience the sensations it brings for the first time, it is like the high point of the story. Indeed, so taken with her is Charles, as she with him, that he sets her up in a flat as his mistress. But he then vanishes abroad, leaving her bereft and miserable, without any means of support.
她被迫在世界上走自己的路，于是搬去与一名中年律师住在一起，尽管当她监视他勾引另一名年轻的乡村女孩并通过勾引他年轻的门生来报复她时，他们的关系结束了。然后，她加入了另一家高级妓院的工作人员，在那里她和她的狱友都喜欢与富有的年轻客户在彼此面前表演。当一位客户因被告知自己是处女而被说服付出特别高的代价时，她会为自己如何假装失去童贞而感到自豪。最终，她与一位富有的年长单身汉发生了关系，后者重写了遗嘱，将所有财产留给了她，但很快就去世了，让她在 19 岁时成为了一名富有的女人。最后，在回家的路上，她住在一家旅馆里，向家人炫耀她新发现的财富，她遇到了失散多年的爱人查尔斯，查尔斯很快就爱上了她。然后我们得知他们已经结婚了，生了孩子，从此过着幸福的生活。
Forced to make her own way in the world, she moves in with a middle-aged lawyer, although their relationship comes to end when she spies on him seducing another young country girl and takes her revenge by seducing his young protégé. She then joins the staff of another high-class brothel, where she and her fellow-inmates all enjoy performing with rich young clients in front of each other. When one client is persuaded to pay a particularly high price on being told she is a virgin, she is proud of how she manages to fake the loss of her virginity. Eventually she takes up with a rich elderly bachelor, who rewrites his will to leave her all his fortune and promptly dies, leaving her at the age of 19 a rich woman. Finally, staying in an inn on her way back home to show off her newfound wealth to her family, she runs into her long-lost love Charles, who falls on her with quickly gratified pleasure. We then gather they have got married, had children and are living happily ever after.
总的来说，这是一个经典的白手起家的故事，充满了“中心危机”和典型的幸福结局。它与我们在本书中看过的任何其他故事的不同之处在于，它的真正目的只是为性行为的无尽的身体描述提供一个框架。每一篇都详细描绘了正在发生的事情，同样的机械描述是男人拿出他的“宏伟的机器”或“武器”，将其插入女人的“精致的缝隙”，周围是阴毛的“柔软的绒毛” ，直到双方都达到机械上完美的相互高潮。这部小说只不过是作者的一系列色情白日梦，旨在激发读者心中类似的性兴奋。虽然是通过女性的视角来描述，但这当然完全是男性的幻想。将其设置在一个故事的框架中的目的是，在这个故事中，女人几乎像付钱给她的男人一样享受性交易的每一分钟，并且她最终变得富有和受人尊敬，嫁给了她所爱的男人，是为了让这些手淫的男性白日梦看起来更容易被读者接受，因为他们欲望的对象和载体范妮被描绘成与他们自己的幻想愉快地共谋。她不仅没有因为向他们敞开心扉而真正受苦。她如此茁壮成长，以至于终于可以看到她享受着典型的幸福结局的所有外在表现。从这个意义上说，它是一个在感性的、一厢情愿的心灵层面上构思的故事的完美例证，因为这本书显然是通过作者自己的幻想自我想象的，
In outline this is a classic Rags to Riches story, complete with ‘central crisis’ and archetypal happy ending. What makes it quite different from any other story we have looked at in this book is that its real purpose is to simply to provide a framework for endless physical descriptions of the sexual act. Each one portrays in detail what it is happening, with the same mechanical descriptions of the man bringing out his ‘magnficent machine’ or ‘weapon’, inserting it into the woman’s ‘delicate slit’, surrounded with its ‘soft down’ of pubic hair, until in each case both parties come to a mechnically perfect mutual climax. The novel is simply a series of erotic daydreams by its author, designed to stimulate similar sexual excitement in the mind of his reader. Although described through the eyes of a woman, it is of course an entirely male fantasy. The purpose of setting it in the framework of a story in which the woman enjoys almost every minute of her sexual transactions as much as the men who are paying her, and in which she ends up rich and respectable, married to the man she loves, is to make these onanistic male daydreams seem more acceptable to the readers, in that the object and vehicle of their desires, Fanny, is portrayed as happily complicit with their own fantasies. Not only does she never really suffer as a result of making herself available to them. She so thrives on it that she can finally be seen enjoying all the outward show of an archetypal happy ending. In this sense, it is a perfect illustration of a story conceived on the sentimental, wishful-thinking level of the mind, in that a book imagined so obviously through the author’s own fantasy-self, centred entirely on the ego, can nevertheless end on the image of his pasteboard heroine attaining the state of the fully-developed Self, without having to show her as possessing any of the archetypal qualities necessary to achieve it.
《范妮·希尔》明显是色情作品，因此很快就被禁，并在英国被压制了 200 多年。类似的命运也发生在 40 年后，在巴黎的一所监狱里，一位 47 岁的法国贵族在巴黎监狱里写下的一个完全黑暗的故事，他因试图用催情药物毒害四名马赛妓女而险些逃脱死刑。萨德侯爵成年后的大部分时间都在逃亡中度过，要么是为了躲避当局，要么是为了躲避愤怒的父亲，因为他对一大批女性进行了冷酷、暴力和变态的对待。1787 年，他因马赛事件而被判处死刑，最终被改判为无限期监禁，在巴士底狱的两周内，他匆匆写下了一部短篇小说，题为《美德的不幸》，后改名为Justine。
Fanny Hill was so obviously written as pornography that it was soon banned, and was to remain suppressed in Britain for more than 200 years. A similar fate was to befall an altogether darker tale written 40 years later, in a Paris prison, by a 47-year old French aristocrat who had narrowly escaped capital punishment for attempting to poison four Marseilles prostitutes with aphrodisiac drugs. The Marquis de Sade had spent most of his adult life on the run, either from the authorities or from enraged fathers, for his callous, violent and perverted treatment of a long succession of women. Having finally had his death sentence for the incident in Marseilles commuted to an indefinite term in prison, he was in the Bastille when, in two weeks in 1787, he dashed off a short novel entitled The Misfortunes of Virtue, later revised as Justine.
故事的开头几乎就像一个民间故事，父母去世后，两个十几岁的女孩朱丽叶和贾斯汀成为孤儿，身无分文。两者形成鲜明对比。朱丽叶，这个世俗的人，立刻开始了卖淫的生活。在她以处女身份被卖给客户80次之后，她愉快地屈服于“罪恶的磨炼、令人厌恶的享乐、秘密、肮脏的放荡、奇异的品味、羞辱性的幻想”，这一切都是为了满足她对世俗进步的无情欲望。在毁掉了三个情人之后，她嫁给了另一个情人，并谋杀了另一个情人，以赢得他的头衔和财富。作为一个富有的寡妇，她扮演一个时尚的巴黎女主人的角色，同时继续她作为昂贵的妓女的秘密生活。她为了钱又谋杀了两个男人，并通过一系列堕胎来保持身材，直到她最终爱上了一位 50 岁的富有情人，他才将她纳为妻子，只是名义上的。他们正要去参观他在乡下为她买下的一处庄园，在一家旅馆过夜时，他们看到一个美丽但衣衫褴褛的女孩从马车上走下来，她的双手被绑着，并受到警察的看守。他们对她的外表感到非常震惊，邀请她进来解释她是如何陷入如此悲惨的困境的。
The story begins almost like a folk tale, when the death of their parents leaves two teenage girls, Juliette and Justine, orphaned and penniless. The two could not be more contrasted. Juliette, the worldly one, at once embarks on a life of prostitution. After she has been sold to clients as a virgin 80 times, she happily submits to ‘criminal refinements, loathsome pleasures, secret, filthy debauches, bizarre tastes, humiliating fancies’, all to serve her ruthless desire for worldly advancement. Having ruined three lovers, she marries and murders another to win his title and his fortune. As a rich widow, she plays the role of a fashionable Parisian hostess, while continuing her secret life as an expensive courtesan. She murders two more men for their money and has a string of abortions to keep her figure, until she finally so takes the fancy of one rich 50-year old lover that he takes her on as his wife in all but name. They are just on their way to visit an estate he has bought her in the country when, stopping overnight at an inn, they see a beautiful but poorly dressed girl stepping out of a coach, her hands tied and under police guard. They are so struck by her appearance that they invite her in to explain how she came to be in such a sorry plight.
这个化名“苏菲”的女孩讲述了一个持续不断的恐怖故事。她十几岁时就成了孤儿，在各方面都虔诚而正直，她决心找到一份诚实的工作，无论多么卑微。她的第一个未来雇主是一个看似受人尊敬的男人，只要她愿意与身居高位的牧师同床共枕，他就为她提供了一个住所。她惊恐地拒绝了这一要求，然后被一个老守财奴要求做最卑微的家务，同时受到可怕的对待，直到他命令她抢劫住在他楼上公寓的男人。当她拒绝后，守财奴将一颗钻石藏在她的床垫里，并召唤警察以偷窃钻石的罪名逮捕她。她被判处死刑，只有在狱友杜波依斯（Dubois）一位同样面临处决的老妇人放火烧了监狱，让他们俩逃进了森林。在这里，杜波依斯，一个顽固的罪犯，向索菲介绍了她的四个邪恶的男性同伙。她为天真的年轻女孩提供了一个选择。她要么坚持她愚蠢的、注定要过上高尚生活的愿望，要么加入这个帮派。四个醉酒的恶棍决定强奸苏菲，却因谁该先动手而大打出手，这给了她在黑暗中第二次逃跑的机会。在灌木丛中睡了一觉后，她被附近两个男人的声音吵醒，并偷偷地厌恶地看着他们进行同性性交。当然，他们随后看到了她，其中一个，一位残暴而恶毒的年轻侯爵，威胁要鞭打她，然后将她吊在树上。
The girl, who passes under the name of ‘Sophie’, unfolds a tale of unremitting horror. Having been orphaned in her teens, devout and upright in every way, she had been determined to find honest employment, however lowly. Her first prospective employer, a seemingly respectable man, had offered her a place in his house so long as she was prepared to sleep with highly-placed churchmen. Having turned this down in horror, she is then taken on by an old miser to perform the most menial household tasks, while being treated appallingly, until he orders her to commit a robbery on the man living in the flat above him. When she refuses, the miser hides a diamond in her mattress and summons the police to arrest her for stealing it. She is sentenced to death, and only avoids hanging in the nick of time when a fellow-prisoner, Dubois, an older woman similarly facing execution, sets fire to the prison, allowing them both to escape into a forest. Here Dubois, a hardened criminal, introduces Sophie to her four villainous male accomplices. She offers the innocent young girl a choice. Either she persists in her foolish, doomed desire to live a virtuous life, or she joins the gang. The four drunken ruffians decide to rape Sophie, but fall to blows over who should be first, giving her the chance to make a second escape in the darkness. After sleeping in the under-growth, she is awakened by the sound of two men nearby, and secretly watches in revulsion while they engage in homosexual intercourse. Of course they then see her, and one, a brutal and vicious young Marquis, threatens to flog her before hanging her from a tree. He eventually relents and takes her home to the chateau where he lives with his mother, a still beautiful Marquise.
布雷萨克夫人是故事中少数几个没有被描绘成残忍、奸诈和完全以自我为中心的人之一。她听了索菲的可怕故事，友善地对待她，并把她当作同伴。但这只是为了引发接下来的恐怖事件，彻底放荡的年轻侯爵命令索菲毒死他的母亲，以获取她的钱财。尽管索菲向她的恩人背叛了阴谋，侯爵仍然设法通过其他方式谋杀了他的母亲。然后，他带她去妓院报复苏菲。早些时候，他曾威胁要在树上吊死她，并在距离她生命只有一英寸的地方鞭打她，然后让她死去。她爬到一位医生的家中，医生收留了她并治愈了她的伤口。但即使是他的态度也异常冷漠和粗暴，她最终发现他将一名 12 岁的女孩囚禁在他的地窖里，他计划对她进行一系列极其痛苦且最终致命的医学实验。索菲释放了她，女孩逃跑了。但医生和他的同伙对索菲进行了报复，砍掉了她的两个脚趾，拔掉了她的两颗牙齿，用红铁烙铁在她的皮肤上留下了被定罪的妓女的印记，并将她身无分文地扔进了监狱。乡村。
Madame de Bressac stands out as one of the few people in the story who is not portrayed as cruel, treacherous and utterly egocentric. She listens to Sophie’s awful story, treats her kindly and takes her on as a companion. But this is only to set up the next sequence of horrors, when the utterly debauched young Marquis orders Sophie to poison his mother, to get hold of her money. Although Sophie betrays the plot to her benefactress, the Marquis still manages to murder his mother by other means. He then takes his revenge on Sophie by taking her to the tree where he had earlier threatened to hang her and flogging her within an inch of her life, before leaving her for dead. She crawls to the home of a doctor, who takes her in and heals her wounds. But even he is strangely cold and rough in his manner, and she eventually discovers he has imprisoned a 12-year old girl in his cellar, on whom he plans to carry out a horribly painful and ultimately fatal series of medical experiments. Sophie releases her and the girl runs away. But the doctor and his accomplice revenge themselves on Sophie by cutting off two of her toes, pulling out two of her teeth, branding her with a red-iron iron which imprints her skin with the mark of a convicted prostitute and casting her penniless out into the countryside.
接下来是整个故事中最长、最离奇的一集。索菲迫切需要一个休息的地方，她被带到一座孤独的修道院，她被告知那里有一个由特别神圣的僧侣组成的小社区。日落时分，在三钟钟声中，她受到欢迎，深深感激她能从噩梦般的磨难中找到这样一个避风港。仁慈的修道院院长拉斐尔神父听到了她的忏悔，证实世界上没有人知道她在那里。然后他把她带到一个房间，在那里她看到三个中年和尚、三个美丽的少女和一个同样美丽的三十岁女人，全都脱光了衣服。在过长的篇幅中，我们听到索菲自己的衣服被脱掉，并将她放在房间中央，让四个修道士对她进行各种性侮辱，最终，拉斐尔神父（教皇的亲戚）通过暴力剥夺了她的童贞来行使他的地位。留下索菲因痛苦和羞辱而呻吟，僧侣们然后将注意力转向其他女孩，然后又回来让索菲再次经历性噩梦。最后，她被托付给年长的女人欧法勒，他们被带走并被锁在里面过夜。
Then follows the longest and most bizarre episode of the whole story. Desperate for somewhere to rest, Sophie is directed to a lonely monastery where she is told there is a small community of particularly holy monks. Arriving at sundown, to the sound of the angelus bell, she is welcomed in, profoundly grateful to have found such a haven from all her nightmarish ordeals. The kindly abbot Father Raphael hears her confession, establishing that there is no one in the world who knows she is there. He then leads her to a room where she sees three middle-aged monks, three beautiful teenage girls and an equally beautiful 30-year old woman all in an advanced state of undress. At inordinate length, we hear how Sophie’s own clothes are removed and she is placed in the middle of the room, for the four monks to subject her to every kind of sexual indignity, culminating in Father Raphael himself, a relative of the Pope, exercising his rank by violently removing her virginity. Leaving Sophie moaning with pain and humiliation, the monks then turn their attention to the other girls, before returning to put Sophie through the sexual nightmare again. Finally she is entrusted to the older woman, Omphale, and they are marched off to be locked in for the night.
索菲发现，主要是从仁慈的欧法勒那里得知，她已经陷入了可以想象的最糟糕的地狱。这四位和尚是彻头彻尾的性暴力怪物，他们把困在监狱里的女孩子都当作是满足自己不倦的欲望和残忍的对象，这些女孩子都是美丽的、出身名门望族的。这种情况已经持续多年了。时不时会有一个女孩消失，几乎肯定是被谋杀，然后被其他人取代。作者热衷于一页又一页地描述他完全不可能的幻想，想象男人能够日日夜夜地沉迷于各种堕落和暴力变态。除了僧侣们将一名女孩打扮成圣母玛利亚以强奸她，然后用她赤裸的身体作为祭坛庆祝圣餐的事件外，他没有详细描述这些变态，只是通过暗示和暗示，用诸如“肮脏”、“好色”、“好色”、“肮脏”、“不纯洁”等绰号来表达它们。但最终他面临的问题是如何将他的女主人公从这个荒唐过度劳累的幻想监狱中解救出来，以便让她免遭更多的恐怖。最后，在奥法勒失踪并死亡后，德萨德采取了一种“用一个强大的束缚杰克就自由了”的解决方案。拉斐尔神父被教皇提拔为圣弗朗西斯骑士团的负责人，当新的修道院院长到来时，他决定让所有女孩获得自由，只要她们保证不告诉任何人发生了什么事。但最终他面临的问题是如何将他的女主人公从这个荒唐过度劳累的幻想监狱中解救出来，以便让她免遭更多的恐怖。最后，在奥法勒失踪并死亡后，德萨德采取了一种“用一个强大的束缚杰克就自由了”的解决方案。拉斐尔神父被教皇提拔为圣弗朗西斯骑士团的负责人，当新的修道院院长到来时，他决定让所有女孩获得自由，只要她们保证不告诉任何人发生了什么事。但最终他面临的问题是如何将他的女主人公从这个荒唐过度劳累的幻想监狱中解救出来，以便让她免遭更多的恐怖。最后，在奥法勒失踪并死亡后，德萨德采取了一种“用一个强大的束缚杰克就自由了”的解决方案。拉斐尔神父被教皇提拔为圣弗朗西斯骑士团的负责人，当新的修道院院长到来时，他决定让所有女孩获得自由，只要她们保证不告诉任何人发生了什么事。
Sophie discovers, largely from the kindly Omphale, that she has landed up in the worst hell imaginable. The four monks are complete sexual and violent monsters, who treat the girls they have trapped into their prison, all beautiful and from respectable families, simply as objects to gratify their unwearying lust and cruelty. This has been going on for years. From time to time a girl vanishes, almost certainly murdered, to be replaced by others. The author revels for page after page in describing his totally improbable fantasies, of men supposedly capable of indulging in every kind of depravity and violent perversion for days and nights on end. Except for an incident where the monks dress up one girl as the Virgin Mary in order to rape her, and then celebrate Communion using her naked body as an altar, he does not describe these perversions in any detail, but conveys them simply by innuendo and suggestion, with epithets such as ‘filthy’, ‘lascivious’, ‘lecherous’, ‘foul’, ‘impure’. But eventually he faces the problem of how to extricate his heroine from this absurdly over-wrought fantasy prison, in order to save her for yet more horrors. Finally, after Omphale has disappeared to her death, de Sade resorts to a kind of ‘with one mighty bound Jack was free’ solution. Father Raphael is promoted by the Pope to become head of the Order of St Francis and, when a new abbot arrives, he decides to let all the girls go free, so long as they promise not to tell anyone what has been going on.
事实上，到了这一集，德萨德的幻想已经达到了顶峰，但他的叙述却无情地继续着。索菲被释放时得到了一小笔钱，但几乎立刻就被她试图在路上帮助的一位老妇人抢走了。她去为一名受伤的男子包扎伤口，后者带她去了他位于甲虫悬崖边缘的城堡，那里距离任何地方都有数英里。在这里，她发现自己再次成为一名囚犯，全身赤裸，每天不得不与其他裸体妇女一起转动轮子 12 个小时，以协助绑架者大规模伪造金钱。当他美丽的囚犯在晚上关在牢房里时，他不可避免地会以极大的暴力强奸她们，让她们知道，当她们最终因强迫劳动和饥饿而崩溃时，她们的尸体将被扔进坑里。
In fact, with this episode, de Sade has reached the climax of his fantasy, but remorselessly his narrative continues. Sophie is released with a tiny amount of money, and is almost immediately robbed of it by an old woman whom she tries to help on the road. She goes to bind the wounds of an injured man, who takes her off to his chateau on the edge of a beetling precipice, miles from anywhere. Here she finds she is again a prisoner, stripped naked, having to turn a wheel with other naked women for 12 hours a day, to assist her captor in his task of forging money on a huge scale. Inevitably when his beautiful prisoners are in their cells at night, he rapes them with great violence, letting them know that when they are finally broken by their forced labour and starvation, their bodies will be thrown into a pit. When he goes off to spend his ill-gotten fortune in Venice, the police arrive, to set all the women free.
苏菲再次遇到女罪犯杜波依斯，后者试图让她参与盗窃富人的钱财。当诚实的索菲警告他即将发生的事情时，该男子想通过求婚来奖励她，但杜布瓦设法毒死了他。最后，在另一家着火的旅馆里，苏菲勇敢地试图从火中救出一名妇女的婴儿，却失足将孩子摔死，于是她的母亲指控她谋杀并放火。地方。正是因为这些罪行，索菲现在在警察的看守下接受审判，当她到达酒店向朱丽叶和她的情人讲述她的故事时。当然，最终她的名字实际上并不是“索菲”，而是贾斯汀，而且她是朱丽叶失散多年的妹妹。
Sophie again meets the female criminal Dubois, who tries to involve her in stealing a rich man’s money. When the honest Sophie warns him what is afoot, the man wants to reward her by proposing marriage, but Dubois manages to poison him. Finally, staying in another inn which catches fire, Sophie bravely tries to rescue a woman’s baby from the flames, but stumbles and drops the child to its death, whereupon she is accused by the mother of murder and of having started the fire in the first place. It is for these crimes that Sophie is now being taken for trial under police guard, when she arrives at the hotel to pour out her story to Juliette and her lover. And of course the penny finally drops that her name is not really ‘Sophie’, but Justine, and that she is Juliette’s long-lost sister.
现在幸福地团聚了，两姐妹去了情人为朱丽叶购买的城堡，在那里她们幸福地生活在一起，直到夏天的一天，一场大风暴即将来临，惊恐的朱丽叶要求她的妹妹关上窗户。当贾斯汀在风中与一扇窗户摔跤时，一道强大的闪电从天而降，她被扔到了房间中央，失去了生命。自然地，作者热衷于描述“螺栓如何从她的右乳房进入，炸毁了她的胸部，然后又从她的嘴里出来，使她的脸毁容，使她看起来很难看”。他最后一次贬低了他的女主角。他的幻想自我不再能对她施加更多的侮辱。
Now blissfully reunited, the two sisters go off to the chateau bought for Juliette by her lover, where they all live happily together until the summer’s day when a great storm brews up and a terrified Juliette asks her sister to close the windows. As Justine is wrestling with one window in the wind, a mighty bolt of lightning flashes from the sky and she is hurled lifeless into the middle of the room. Naturally the author is keen to describe how ‘the bolt had entered by her right breast, had blasted her thorax and come out again through her mouth, so disfiguring her face that she was hideous to look at’. He has degraded his heroine for the last time. There are no more indignities left for his fantasy-self to heap on her.
对感觉的崇拜
The cult of sensation
这两个例子提供了一个完美的案例研究，说明幻想自我如何创造故事，因为它走向了极端。根据“黑暗反转”法则，自我将原型价值观编程到无意识的自我中，并将它们颠倒过来。贾斯汀的显着特征是，以二维方式，她代表了讲故事的最高价值的本质，即“轻柔的女性气质”。她外表美丽，心灵纯洁，心地善良，精神虔诚。她是阿尼玛，人类的心脏和灵魂。她是佩内洛普、安德洛墨达、但丁的贝阿特丽斯、莎士比亚的佩迪塔、贝多芬的利奥诺拉、灰姑娘。她是只有真正的英雄才能赢得的“公主”，当他表现出自己适合与她结合时，因为他自己可能是完整的。然而，德萨德幻想的全部主旨是展示这个闪亮的象征人物被一系列男性和女性以他能想象到的各种方式玷污和侵犯。他小心翼翼地强调，在任何情况下，女性怪物最终都会因她们的邪恶而繁荣。拉斐尔神父被提升为教会最高职位之一。伪造者在威尼斯享受着他的不义之财。同性恋弑母侯爵继承了两笔巨额财产。这位虐待狂医生被任命为瑞典国王的医生。杜波依斯带着偷来的钱逃跑了。即使是朱丽叶，在经历了长期的杀人妓女生涯后，最终在她的假婚姻中变得富有和幸福（尽管，到最后，这与我们所知道的她性格的其他一切完全不一致，她应该在婚姻中表现出如此同情和快乐）重新发现她失踪的妹妹）。
These two examples provide a perfect case-study of how the fantasy-self creates stories, as this moves towards its extremes. By the law of the ‘dark inversion’, the ego takes the archetypal values programmed into the unconscious Self and turns them on their head. The defining feature of Justine is that, in two-dimensional fashion, she represents the essence of what is the highest value in storytelling, the ‘light feminine’. She is physically beautiful, pure-minded, good-hearted, spiritually devout. She is the anima, the heart and soul of mankind. She is Penelope, Andromeda, Dante’s Beatrice, Shakespeare’s Perdita, Beethoven’s Leonora, Cinderella. She is the ‘Princess’ whom only the true hero can win, when he has shown himself fit to be united with her because he is himself potentially whole. Yet the whole thrust of de Sade’s fantasy is to show this shining symbolic figure being defiled and violated in every way he can imagine, by a series of male and female monsters who in every case end up, he is careful to emphasise, prospering from their villainy. Father Raphael is promoted to one of the highest posts in the Church. The forger enjoys his ill-gotten gains in Venice. The homosexual matricidal Marquis inherits two vast fortunes. The sadistic medical man is appointed doctor to the King of Sweden. Dubois escapes with the money she has stolen. Even Juliette, after her long career as a murderous whore, ends up rich and happy in her pseudo-marriage (although, at the end, it is wholly inconsistent with everything else we know of her character that she should show such compassion and joy in rediscovering her lost sister).
只有善良的贾斯汀才会面临无尽的挫折、背叛和痛苦，而每一次都正是因为她是善良的。这是因为她要么把自己交给别人怜悯，要么无私地试图帮助他们。这就是德萨德故事的中心目的，展示美德被击败，恶行得到回报：享受看到阿尼玛所带来的快感通过性与暴力的结合而受到贬低和羞辱，这是人类自我在摆脱任何外在束缚时的最高表现。这是两种最极端的自我中心形式，一个人可以通过它们与另一个人建立联系。幻想的最终目的是体验源自想象自我中心主义主张的精神感觉。理解其运作原理的关键是了解其真正的驱动力是如何反抗自我的冲动。自我反抗的自我正是通过创造显示自我价值观被侵犯的意象来找到满足感。
Only the virtuous Justine has to be shown facing endless reverses, betrayals and sufferings, each time precisely because she is virtuous. It is because either she has thrown herself on someone else’s mercy or has selflessly tried to help them. Such is the central purpose of de Sade’s story, to show virtue defeated and villainy rewarded: to enjoy the thrill which comes from seeing the anima degraded and humiliated, through that combination of sex and violence which are the supreme expressions of the human ego when it has broken free from any external restraint. Such are the two most extreme forms of egocentricity through which one human being can relate with another. The ultimate purpose of fantasy is to experience the mental sensation which derives from imagining the assertion of that egocentricity. And the key to understanding how this works is to see how its real driving force is the urge to defy the Self. The Self-defying ego finds its gratification precisely through creating imagery which shows the values of the Self being violated.
我们在性行为的那些方面的本质中清楚地说明了这一点，幻想正是从性行为中获得了刺激。故事如何描绘自我原型的一个关键组成部分是它们如何解决男女主角之间永久爱情结合的理想状态的形象。正如惯例所说，“他们结婚了，从此过上了幸福的生活”。这就是为什么当自我开始侵犯自我时，它只能从幻想任何事物而不是满足的婚姻状态中获得刺激。正如讲故事中“怪物”的要点在于它不能被描绘成一个完整的、理想的人，同样的道理也适用于自我开始幻想性关系时。如果我们看看这些故事所依赖的意象，我们看到它如何能够集中在幸福婚姻爱情状态的每一个可以想象的偏差上。它的兴奋点可以来自婚外性行为、乱交、色情狂、纵欲、恋物癖、卖淫、手淫、同性恋、女同性恋、儿童性行为、动物性行为、各种变态；性驱动的自我越是难以获得持久的解决感，就越有可能与暴力的冲动结合在一起，正如它在施虐、受虐、强奸、甚至谋杀中所表现的那样。非个人幻想无法从中获得满足的一种状态是想象一种单调的“正常”状态，绝大多数成年人一直存在于这种状态中：一种安全的、无可置疑的、持久的婚姻。乱交、色情狂、纵欲、恋物癖、卖淫、手淫、同性恋、女同性恋、儿童性行为、动物性行为、各种变态；性驱动的自我越是难以获得持久的解决感，就越有可能与暴力的冲动结合在一起，正如它在施虐、受虐、强奸、甚至谋杀中所表现的那样。非个人幻想无法从中获得满足的一种状态是想象一种单调的“正常”状态，绝大多数成年人一直存在于这种状态中：一种安全的、无可置疑的、持久的婚姻。乱交、色情狂、纵欲、恋物癖、卖淫、手淫、同性恋、女同性恋、儿童性行为、动物性行为、各种变态；性驱动的自我越是难以获得持久的解决感，就越有可能与暴力的冲动结合在一起，正如它在施虐、受虐、强奸、甚至谋杀中所表现的那样。非个人幻想无法从中获得满足的一种状态是想象一种单调的“正常”状态，绝大多数成年人一直存在于这种状态中：一种安全的、无可置疑的、持久的婚姻。各种变态；性驱动的自我越是难以获得持久的解决感，就越有可能与暴力的冲动结合在一起，正如它在施虐、受虐、强奸、甚至谋杀中所表现的那样。非个人幻想无法从中获得满足的一种状态是想象一种单调的“正常”状态，绝大多数成年人一直存在于这种状态中：一种安全的、无可置疑的、持久的婚姻。各种变态；性驱动的自我越是难以获得持久的解决感，就越有可能与暴力的冲动结合在一起，正如它在施虐、受虐、强奸、甚至谋杀中所表现的那样。非个人幻想无法从中获得满足的一种状态是想象一种单调的“正常”状态，绝大多数成年人一直存在于这种状态中：一种安全的、无可置疑的、持久的婚姻。
We see this clearly illustrated in the nature of those aspects of sexual behaviour from which fantasy derives its thrills. A crucial component in how stories portray the archetype of the Self is the way they resolve on the image of an ideal state of permanent loving union between hero and heroine. As the convention has it, ‘they got married and lived happily ever after’. This is why, when the ego sets out to violate the Self, it can only derive its thrills from fantasising about anything but the fulfilled married state. Just as the point about the ‘monster’ in storytelling is that it can be portrayed as anything but a whole, ideal human being, the same applies when the ego sets out to fantasise about sexual relations. If we look at the imagery such stories feed on, we see how it can be centred on every conceivable aberration from the state of happily married love. It can derive its excitements from extra-marital sex, promiscuity, nymphomania, orgies, fetishism, prostitution, masturbation, homosexuality, lesbianism, sex with children, sex with animals, perversions of all kinds; and the more the sexually-driven ego strains after that sense of lasting resolution it cannot attain, the more likely it is to coalesce with the urge to violence, as it finds expression in sadism, masochism, rape, even murder. The one state from which impersonal fantasy cannot derive gratification is in imagining that state of humdrum ‘normality’ in which the vast majority of the adult human race has always existed: a secure, unquestioned, lasting marriage.
这确实是基于自我的幻想的本质，它们以未解决和不完整的图像为食。事实上，它的图像无法带来解决方案，这使得它们具有戏弄和诱惑的力量，并使它们看起来比实际更重要。这个非常重要的方面莎士比亚在《仲夏夜之梦》中承认了人类大脑的运作方式，他写道：
It is indeed the essence of ego-based fantasies that they feed on images which are unresolved and incomplete. It is the very fact that its images cannot lead to resolution which gives them their power to tease and tantalise and to make them seem more significant than they are. This hugely important aspect of the way the human brain works was recognised by Shakespeare in A Midsummer Night’s Dream when he wrote how:
“在夜晚，想象一些恐惧，
‘in the night, imagining some fear,
灌木丛被认为是熊是多么容易的事啊。
how easy is a bush supposed a bear.’
因为在黑暗中，大脑无法获得足够的信息来清楚地看到灌木丛，所以它会被嘲笑夸大所看到的东西的重要性，在想象中将其塑造成一个具有威胁性的怪物。这种现象我们可以称之为“nyktomorph”，一种“夜间形状”：一种图像，因为大脑无法解析它，所以被赋予了比清晰可见和理解更大的力量。为了理解幻想是如何运作的，我们必须认识到，正是因为幻想以这些无法达到分辨率的夜行图像为食，所以它对人类的思想产生了如此强烈的控制。
Because, in the darkness, the brain cannot get enough information to see the bush clearly, it is teased into exaggerating the significance of what it sees, building it up in imagination as a threatening monster. This is the phenomenon we may call a ‘nyktomorph’, a ‘night shape’: an image which, because the brain cannot resolve it, becomes invested with far greater power than if it could be clearly seen and understood. And to understand how fantasy works, one must appreciate that it is precisely because it feeds on these nyktomorphic images which cannot reach resolution that it comes to exercise such an obsessive hold over the human mind.
然而，在讲故事的过程中，潜在的原型结构是这样构成的，它们必须始终致力于最终的形象，向我们展示故事中的一切都得到了令人满意的解决。一个结构良好的故事的标志是，它的每一个细节都以某种方式为最终的解决做出了贡献。而这只有当故事最终以某种自我形象解决时才能实现。要么是淡淡的男女主角在完美的爱情中结合在一起；或者一个黑暗的英雄被毁灭，以便光明能够重新出现并恢复完整性。因此，根据定义，如果故事的目的是反抗自我，则永远无法达到这一点。这个故事只能由一系列的情节组成，每一集都建立在建立尽可能长的期待感的基础上，最终以一些令人震惊或令人兴奋的图像达到高潮，但无法解决问题。这样的故事能够“发展”的唯一方法是逐步加大侵犯程度，以便每一集都以比上一集更耸人听闻的形象结束。
Yet in storytelling the underlying archetypal structures are so constituted that they must always work towards that concluding image which shows us everything in a story being satisfactorily resolved. The mark of a well-constructed story is that every detail in it is contributing in some way towards that final resolution. And this can only come about if the story finally resolves in some image of the Self. Either a light hero and heroine are seen united in perfect love; or a dark hero is brought to destruction, so that light can re-emerge and wholeness be restored. By definition, therefore, where the purpose of the story is to defy the Self, this point can never be reached. The story can only be made up of a series of episodes, each based on building up a sense of anticipation which is spun out as long as possible, finally culminating in some shocking or titillating image which cannot lead to resolution. The only way such a story can ‘develop’ is by progressively stepping up the degree of violation, so that each episode concludes in an image more sensational than the last.
这就是“幻想螺旋”：需要不断“增加剂量”，就像某些类型的药物一样，只是为了维持满足感。用上面引用的叶芝的话来说，“我们用幻想喂养心灵，心灵因食物而变得残酷”。每当幻想达到一个无法导致解决的小高潮时，它就需要更强大的东西来实现下一个。就像在悲剧性的“幻想循环”中一样，故事的情绪因此不断地在期待和沮丧之间摇摆，呈上升曲线。然而，值得注意的是，在我们所看过的每个故事中，最终的震惊都保留在女主人公最终失去童贞的那一刻。在每本书中，为了保持期待感，发生的时刻都被尽可能地推迟（事实上，更是如此，范妮·希尔 (Fanny Hill)、理查森 (Richardson) 的克拉丽莎 (Clarissa )。在贾斯汀的例子中，尤为重要的是，这种侵犯行为是由代表教会这一完整象征的四位“神圣”僧侣实施的，因此自我侵犯的感觉被加倍（正如在《圣经》中一样）。僧侣们强奸了一名装扮成圣母玛利亚的女孩，然后用她流血的赤裸身体作为圣餐祭坛）。但从现在开始，每一个故事，作者都很难维持住震撼感，因为他已经打出了自己的底牌。剩下的就是继续重复更多同样的公式，现在在其震撼或刺激的力量方面受到收益递减的影响，直到作者必须得出结论的那一刻。在《范妮·希尔》中，他只是在典型的幸福结局的感伤纸板复制品上加上了一个感伤的纸板复制品，这与故事的其余部分没有任何联系。在《美德的不幸》中，萨德施展了他仅存的绝招，通过一种他能想到的令人震惊的毁容死亡方式，几乎出乎意料地安排了他不幸的女主人公被毁灭。
Such is the ‘fantasy spiral’: the need constantly to ‘up the dose’, as with certain types of drug, simply in order to sustain the sense of gratification. In the words of Yeats quoted above ‘we have fed the heart on fantasies, the heart’s grown brutal from the fare’. Each time the fantasy achieves a mini-climax which cannot lead to resolution, it requires something stronger to achieve the next. As in the tragic ‘fantasy cycle’, the story’s mood thus constantly swings between anticipation and frustration, on an ascending curve. Nevertheless it is notable how, in each of the stories we have been looking at, the ultimate charge of shock is reserved for the moment when heroine finally loses her virginity. In each book, to maintain the sense of anticipation, the moment when this takes place is delayed as long as possible (as it was, even more so, in the novel which appeared the year before Fanny Hill, Richardson’s Clarissa). In the case of Justine, it is particularly significant that this act of violation is carried out by four ‘holy’ monks, representing that symbol of wholeness, the Church, so that the sense of Self-violation is redoubled (just as it is in the incident where the monks are shown raping a girl dressed as the Virgin Mary, before using her bleeding, naked body as a Communion altar). But from this point on in each of the stories, it is hard for the author to sustain the sense of shock, because he has played his trump card. All that is left is to go on repeating more of the same formula, now subject to diminishing returns in terms of its power to shock or thrill, until the moment when the author has to bring his narrative to a conclusion. In Fanny Hill, he simply tacks on a sentimental cardboard replica of the archetypal happy ending, which has no connection with the rest of the story. In The Misfortunes of Virtue, de Sade produces the only remaining trick he has up his sleeve, in arranging for his hapless heroine to be destroyed, almost literally out of the blue, by as shockingly disfiguring a form of death as he could think of.
事实上，这种感觉崇拜的任何方面都比它在自我中产生幻觉更能说明问题，即在摆脱自我原型的束缚时，它可以实现更大的解放状态。事实上，根据“暗反转”定律，情况恰恰相反。自我越是试图“推回边界”，它就越会陷入陈词滥调和刻板印象的束缚之中。克莱兰和德萨德的缓慢而机械的叙述已经证明了这一点。在本章的其余部分，我们将看到这种解放的幻想最终会导致一片多么有限的小荒地。
Indeed no aspect of this cult of sensation is more revealing than the way it engenders in the ego the illusion that, in escaping from the archetypal constraints of the Self, it can achieve an ever greater state of liberation. In reality, by the law of the ‘dark inversion’, the very opposite is the case. The further the ego attempts to ‘push back the frontiers’, the more it becomes boxed into an ever more constricting prison of cliches and stereotypes. To this the plodding, mechanical narratives of Cleland and de Sade have already borne witness. In the rest of this chapter we shall see to just what a limited little wasteland this fantasy of liberation eventually leads.
爆炸倒计时：乔伊斯的《尤利西斯》
Countdown to the explosion: Joyce’s Ulysses
在它们写作时，就讲故事的总体景观而言，这两本晦涩难懂的十八世纪小说（以及当时的其他小说）只不过是微弱的地震，预示着地下能量的积聚，而这些能量只会爆发在遥远的未来，在地表之上。这两本书写完后几乎立即被压制。1789 年 7 月，在写完《美德的不幸》两年后，萨德从监狱被转移到夏朗顿疯人院，在那里他最终以《贾斯汀》为题创作了一个更加耸人听闻的故事版本。就在他搬家一周后，巴黎暴徒闯入巴士底狱，释放了剩余的囚犯，这一事件比任何其他事件都更标志着法国大革命的开始。
At the time they were written, in terms of the general landscape of storytelling these two obscure eighteenth-century novels (and others of the time) were no more than faint earth tremors, heralding a subterranean build-up of energies which were only to erupt above the surface far in the distant future. Both books were almost immediately suppressed after they were written. In July 1789, two years after writing The Misfortunes of Virtue, de Sade was transferred from prison to the insane asylum at Charenton, where he was eventually to produce an even more lurid version of his tale under the title of Justine. Just a week after his move, the Paris mob broke into the Bastille to liberate its remaining prisoners, the event which more than any other marked the onset of the French Revolution.
欧洲正陷入长达四分之一个世纪的动乱和战争，恰逢浪漫主义时代的黎明。正如我们所见，在随后的一个世纪里，几乎所有的故事讲述中都贯穿着无穷无尽的被背叛、被监禁、被侵犯、死亡或垂死的女主人公，马里奥·普拉兹将其概括为“受迫害的少女”的形象：歌德《浮士德》中的格雷琴，被英雄引诱而惨死；露西娅·迪·拉默莫尔被家人可怕地背叛，逼疯，最终死亡；无辜的吉尔达，无意中被她的父亲弄臣谋杀并扔进麻袋；狄更斯笔下的南希，被比尔·赛克斯殴打致死；苔丝因双重背叛而被引诱并逼疯，最后被送上断头台；蝴蝶夫人因被无情的抛弃而绝望自杀。这种不断出现的形象可能是新兴工业化文明与阿尼玛失去联系的无意识反映。及其根源于自我。但至少从身体上来说，这些对被侵犯的女性的描绘是以一种表面上高雅的方式呈现的，旨在在情感层面上拉动公众的心弦，而不表现出任何过于露骨的东西。在十九世纪受人尊敬的资产阶级道德的全盛时期，性和暴力的粗俗身体细节就像那些虚构的钢琴腿一样被牢牢地保留在视野之外。
Europe was plunging into that quarter of a century of upheaval and war which coincided with the dawn of the age of Romanticism. And running through almost every kind of storytelling over the century which followed, as we have seen, was that endless succession of betrayed, imprisoned, violated, dead or dying heroines, summed up by Mario Praz as the image of ‘the persecuted maiden’: Gretchen, seduced by the hero and brought to a miserable death in Goethe’s Faust; Lucia di Lamermoor, hideously betrayed by her family, driven mad and eventually to her death; the innocent Gilda, unwittingly murdered and thrown into a sack by her father Rigoletto; Dickens’s Nancy, battered to death by Bill Sykes; Tess, seduced and driven mad by her double-betrayal, ending up on the scaffold; Madame Butterfly, committing suicide in despair at her heartless abandonment. This constantly recurring image may have been the unconscious reflection of a newly industrialised civilisation losing touch with the anima and its roots in the Self. But at least in physical terms these depictions of the violated feminine were presented in an outwardly decorous fashion, designed to tug at the public’s heartstrings on a sentimental level without showing anything too explicit. Through the long nineteenth-century heyday of respectable, bourgeois morality, the crude physical details of sex and violence were kept as firmly out of view as those apocryphal piano legs.
然后在二十世纪初，伴随着技术创新的进一步浪潮——无线、汽车、飞机、摩天大楼——出现了一个截然不同的时代开始到来的迹象。那时，弗洛伊德和荣格开始揭示，我们的意识生活只是一个脆弱的、肤浅的结构，受隐藏在心灵无意识层中的巨大神秘力量的支配。在艺术、社会、政治等各个方面，既定的形式和结构突然被视为想象力的监狱，被视为需要摆脱的限制。在绘画中，毕加索和布拉克饱受折磨的立体派图像就体现了这一点。在音乐中斯特拉文斯基的电能，勋伯格的无调性，拉格泰姆和爵士乐的切分节拍；早期艾略特自由形式的诗歌。爱尔兰人在 1914 年至 1921 年间的七年间，在的里雅斯特、苏黎世和巴黎写成的一部长篇小说，最能表达这种新的情绪，而此时正是艾略特写作的时期。巴黎的荒原和普鲁斯特正在完成《追忆似水年华》。
Then at the start of the twentieth century, coinciding with a further surge of technological innovation – wireless, motor cars, aeroplanes, skyscrapers – there were signs of a very different age beginning to dawn. It was the time when Freud, then Jung were beginning to reveal how much our conscious life is merely a fragile, superficial construct, at the mercy of immense mysterious forces hidden from view in the unconscious layers of the mind beneath. In all directions, artistically, socially, politically, established forms and structures were suddenly coming to be seen as a prison to the imagination, as constraints to be thrown off. In painting this showed in the tortured Cubist images of Picasso and Braque; in music in the electric energies of Stravinsky, the atonalism of Schoenberg, the syncopated beat of ragtime and jazz; in poetry in the free form of early Eliot. And nowhere did this new mood find more radical expression than in a long novel being written by an Irishman in Trieste, Zurich and Paris over the seven years between 1914 and 1921, just when Eliot was writing The Waste Land and Proust in Paris was completing À La Recherche du Temps Perdu.
詹姆斯·乔伊斯希望他的《尤利西斯》被解读为荷马《奥德赛》的现代回响。事实上，这两个故事之间的对比再深刻不过了。作为无与伦比的探索故事，奥德赛完全由一个压倒性的命令所塑造：它的英雄最终应该回家，驱散笼罩在他王国上的可怕阴影，击溃黑暗势力并解放他忠实的佩内洛普。这一切都要求他成为一个完整的人，最终显露出他完全的王者状态。故事的每一个细节都在朝着这个结论努力，直到我们看到故事讲述中最精彩的画面之一，讲述了一个英雄的发展和成熟，直到他能够达到自我实现的状态。
James Joyce intended his Ulysses to be read as a modern echo of Homer’s Odyssey. In reality the contrast between the two stories could scarcely be more profound. As the Quest story beyond compare, the Odyssey is entirely shaped by the one overwhelming imperative: that its hero should finally come home, to dispel the terrible shadow which has fallen over his kingdom, to put the forces of darkness to rout and to liberate his faithful Penelope. All of which requires him to become a complete man, finally revealed in his full kingly state. Every detail of the story takes its place in working towards that conclusion, until we are presented with one of the finest pictures in storytelling of a hero developing and maturing to the point where he can achieve the state of Self-realisation.
对于乔伊斯来说，很难想象出一个在各个方面都与此相反的故事，而是他那长达 930 页的曲折故事，讲述了他的小主人公利奥波德·布鲁姆 (Leopold Bloom)，一个中年、婚姻不幸、不成功的广告推销员，如何度过一个漂泊的夏日。漫无目的地逛都柏林城，参加葬礼，和熟人聊些琐事，闲着看报纸和广告标语，吃午饭，晚上去自慰的海滩散步，参观妓院，最后回到家，在厕所小便。和他的朋友史蒂芬·代达罗斯一起在花园里，然后以胎儿的姿势躺在妻子莫莉的床尾，那天下午他就是在那里戴绿帽子的。
It would have been hard for Joyce to conceive a story more opposed to this in every respect than his meandering 930-page account of how his little hero Leopold Bloom, a middle-aged, unhappily married, unsuccessful advertising salesman, spends a summer’s day drifting aimlessly round the city of Dublin, attending a funeral, swapping trivialities with acquaintances, idly reading newspapers and advertising slogans, having lunch, going for an evening walk on the beach where he masturbates, visiting a brothel and finally returning home, to urinate in the garden with his friend Stephen Daedalus, before tucking up in a foetal position at the end of his wife Molly’s bed where he had that afternoon been cuckolded.
布鲁姆这一天的一切都意味着挫败、失败、缺乏目标、无根的自我的琐碎世界，与爱或任何意义无关。他是一个不成熟、无法发展的人。小说的结尾最生动地强调了这一点，小说的结尾完全颠倒了对奥德赛结局的讽刺。奥德修斯的故事在他回到家并杀死了求婚者后，和他的妻子掉进了他多年前用一棵橄榄树雕刻而成的镶金床上的那一刻，进入了完美的爱情，然后转身。他们愉快地度过了余下的大部分时间，回忆起自从上次在一起以来发生在他们身上的一切。而被殴打、疲惫不堪的布鲁姆，当天早些时候，他爬进婚床的角落，以未出生孩子的姿势陷入孤独的睡眠，留下不幸的莫莉在故事结尾的 50 页内部意识流中悲伤地沉思。 ，幻想她过去的恋人，并在她怀旧地自慰时达到高潮，最后喊出“是”。
Everything about Bloom’s day spells defeat, failure, lack of purpose, the trivialised world of the rootless ego divorced from love or any sense of meaning. He is a man frozen in immaturity, incapable of development. And nowhere is this more vividly underlined than at the end of the novel, which becomes a completely inverted caricature of the conclusion of the Odyssey. Odysseus’s story comes to its final resolution in the moment when, having returned home and slain the suitors, he and his wife fall into the gold-inlaid bed he had carved years earlier from a single olive tree, to commingle in perfect love, before turning to ‘the fresh delights of talk’, as they happily wile away much of the rest of the night recalling all that has happened to them since they were last together. Whereas the beaten, exhausted Bloom, after resignedly noting the imprint left on the mattress by his wife’s lover earlier in the day, crawls into his corner of the marital bed, to sink, in the pose of an unborn child, into solitary sleep, leaving the unhappy Molly to muse forlornly through the 50-page internal stream of consciousness on which the story ends, fantasising about her past lovers and culminating, as she nostalgically masturbates, in a final climactic shout of ‘Yes’.
《尤利西斯》像任何故事一样生动地说明了，一旦整个心理方程式中的女性成分、心灵和灵魂的价值消失了，剩下的就是男性的对应物、身体的物质世界和秩序功能。人类心灵的。很少有故事比《尤利西斯》更自觉地“有序” ，它有十八个“部分”，每个部分都以自己的风格或“技巧”编写，有自己相关的颜色、符号、身体器官以及与某些情节的假定对应关系。在奥德赛中。正如乔伊斯在一封信中所说，“每个小时、每个器官、每门艺术”因此“在整体的躯体方案中相互联系和相互关联”。他解释了莫莉最后的独白，由八个巨大的、漫无目的的、不加标点的句子组成，据说对应着女性的四个“基本点”，即“女性的乳房、屁股、子宫和阴户”。但与《奥德赛》的有机复杂性相比，其中每个微小的细节都从生命的整体中发展出来（例如，英雄用弓射出的那十二个斧头的方式反映了他在故事早期的十二次磨难），尤利西斯就像是对人类大脑秩序原则的模仿，因为它缺乏那种“女性化”的直觉力量，这种直觉可以赋予大脑活力并将其与意义联系起来。它无休止的犹豫不决构成了DH劳伦斯在不同的背景下所说的“自慰意识”的一个很好的例子。这给我们一种心灵与意义脱离联系的感觉，同样反映在书中人物的意识徘徊的方式上，充满了脱节的知识片段、愚蠢的双关语、强迫性的双关语、强迫性的文字游戏、引文、空清单和伪知识分子的猜测。正如乔伊斯在一封信中再次指出的那样：
What Ulysses illustrates, as vividly as any story, is how once the feminine components of the overall psychic equation go missing, the values of heart and soul, all that is left are their masculine counterparts, the physical world of the body and the ordering function of the human mind. Few stories have been more self-consciously ‘ordered’ than Ulysses, with its eighteen ‘sections’, each written in its own style or ‘technique’, with its own related colour, symbol, organ of the body and supposed correspondence to some episode in the Odyssey. As Joyce put in a letter, ‘every hour, every organ, every art’ is thus ‘connected and interrelated in the somatic scheme of the whole’. He explains how Molly’s final monologue, consisting of eight enormous, rambling, unpunctuated sentences, supposedly corresponds to the four ‘cardinal points’ of womanhood, these ‘being the female breasts, arse, womb and cunt’. But compared with the organic complexity of the Odyssey, in which each tiny detail grows out of the living whole (e.g., the way those twelve axeheads through which the hero shoots his bow fleeting reflect his twelve ordeals earlier in the story), the structuring of Ulysses is like a parody of the ordering principle of the human brain, when it lacks that ‘feminine’ power of intuition which can bring it alive and connect it up to meaning. Its endless irresolutions make up a fine example of what D. H. Lawrence called, in a different context, ‘masturbating consciousness’. And the sense this gives us of a mind churning away out of contact with meaning is equally reflected in the way the consciousness of the characters wanders on through the book, full of disjointed snippets of knowledge, silly puns, compulsive word-play, bits of quotations, empty lists and pseudo-intellectual speculations. As Joyce again put it in a letter:
“我的脑袋里满是鹅卵石、垃圾、碎火柴和随处捡到的玻璃碎片。” 我从技术上给自己设定的任务是从十八个不同的角度写一本书……以及所选择的传奇的本质足以打破任何人的心理平衡。
‘my head is full of pebbles and rubbish and broken matches and bits of glass picked up ‘most everywhere. The task I set myself technically in writing a book from eighteen different points of view ... that and the nature of the legend chosen would be enough to upset anyone’s mental balance.’
所有这些都有助于将乔伊斯的角色呈现为每个人都在自己的小自我世界中迷失和孤立，没有理解。如果这就是《尤利西斯》的全部内容，那么在我们的最后一章中讨论这本书可能更合适。它的人物与契诃夫笔下的人物一样肯定“无处可去”（布鲁姆的“日子”是1904年6月16日，碰巧是契诃夫去世前两周）；乔伊斯晚年聘请塞缪尔·贝克特作为他的秘书也并非无关紧要。《等待戈多》中两个流浪汉无关紧要的戏谑显然与《尤利西斯》的风格相呼应。出于对乔伊斯的钦佩，贝克特干脆将这一点搬上了舞台。但是，当这本书于 1922 年由名为“利己主义出版社”(Egoist Press) 出版时，美国和英国当局没收了该书的副本，因此几十年来该书无法以未删除的形式公开出版，原因并不是它的精神虚无主义。这是它的痴迷对人体和身体机能的关注，尤其是对性的身体性的提及。
All this helps to present Joyce’s characters as each lost and isolated in their own little ego-world, without understanding. And if this were all there is to Ulysses, the book might more appropriately have been discussed in our last chapter. Its characters are just as surely ‘going nowhere’ as those in Chekhov (Bloom’s ‘day’, 16 June 1904, was set, as it happens, just two weeks before Chekhov died); and it is not irrelevant that, in his later years, Joyce employed Samuel Beckett as his secretary. The inconsequential badinage of the two tramps in Waiting For Godot clearly echoes the style of Ulysses. In his admiration for Joyce, Beckett simply carried this over onto the stage. But what prompted both the US and British authorities to seize copies of the book when it was published in 1922 by the appropriately titled Egoist Press, so that for some decades it could not be openly published in unexpurgated form, was not its spiritual nihilism. It was its obsessive concern with the human body and physical functions, above all its references to the physicality of sex.
当沮丧的布鲁姆在都柏林闲逛时，他的思绪不断地在性上徘徊。对于现代读者来说，书中很少有段落会在不知不觉中如此滑稽，就像他在书摊上捡到的一本所谓的色情小说的摘录一样，以后来的标准来看，这本书似乎很温和（据称带有挑衅性的提及女性的embonpoint ））。同样令后来人吃惊的是其中提到的女士内衣。在乔伊斯的时代，提到“抽屉”和“支柱”可能会显得大胆而令人兴奋，但今天，这些粗俗的术语只是提醒我们，在后维多利亚时代的世界意识中，这些问题是多么彻底的压抑。但比任何事情都更能说明问题的是这两次性爱事件的本质，它们的描述非常详细。其中一个是傍晚时分的非凡场景，年轻女子格蒂和她的朋友们在海滩上观看烟花表演。孤独的布鲁姆仍然穿着葬礼上的黑色西装，来到格蒂身后，格蒂意识到他正在看着她。她故意倾身向他展示越来越多的大腿，令他兴奋不已，随着烟花表演的高潮，他一起射精。当她走开时，很明显她很高兴以这种方式唤醒他。也很明显，她是瘸子。
As the frustrated Bloom wanders round Dublin, his mind constantly harps on sex. Few passages in the book are unwittingly so comical to a modern reader as the extracts from the supposedly pornographic novel he picks up on a bookstall, which by later standards seem so tame (with supposedly provocative references to a woman’s embonpoint). Equally startling to later eyes are the mentions of ladies’ underwear. References to ‘drawers’ and ‘stays’ might have seemed daringly titilla-tory in Joyce’s day, but today such lumpish terms are merely a reminder of just how complete was the repression of such matters to the consciousness of a post-Victorian world. But what is more revealing than anything is the nature of the two sexual episodes which are described in any detail. One is the extraordinary scene as dusk is coming on in the evening, where a young woman, Gerty, and her friends are on the beach, watching a fireworks display. The solitary Bloom, still in his black suit from the funeral, comes up behind Gerty, who becomes aware he is watching her. She deliberately leans over to show him more and more of her thighs, exciting him to the point where he ejaculates in unison with the climax of the firework show. As she walks away, it is clear she has taken pleasure from arousing him in this manner. It is also clear that she is lame.
第二个实体情节，形成了整本书的高潮，是莫莉独白的结尾处，当时她首先回忆起他们第一次见面时与布鲁姆在本·霍斯身上的做爱，然后是激情她在家乡直布罗陀的岩石顶上第一次发生青少年性行为。这两段记忆中点缀着太阳和猴子、热带植被和地中海摩尔式白墙的浪漫画面，也让她兴奋地刺激自己，因此这本书可以在她高潮般的“是”的呼喊中结束。丈夫和妻子的两次单独性行为，在他们的不快乐和沮丧中完全孤立。与奥德赛结局的对比描绘了一对成熟的丈夫和妻子在身体、思想、心灵和灵魂的各个层面上完美的爱的结合，这是再完整不过的了。然而，我们所看到的正是当人类意识仅限于自我，而人类爱的复杂性被简化为性冲动的肉体时所发生的情况的准确反映。这最终的表现就是在头脑中幻想图像的刺激下，通过手淫的身体释放。一旦失去了自我意识以及与自我之外的世界的活生生的联系，这就是整个过程必然导致的毫无结果的死胡同。1
The second physical episode, forming the climax to the whole book, is that which comes right at the end of Molly’s monologue, when she has been remembering, firstly, her lovemaking with Bloom on Ben Howth when they had first met, and then the passion of her first-ever teenage sexual encounter at the top of the Rock in her native Gibraltar. The two memories, interspersed with romantic images of the sun and the monkeys, the tropical vegetation and Moorish white walls of the Mediterranean, excite her too into stimulating herself, so that the book can end on her orgasmic cry of ‘Yes’. Two acts of solitary sex, by husband and wife, totally isolated from each other in their unhappiness and frustration. The contrast to the ending of the Odyssey, depicting a mature husband and wife in perfect loving union on every level, body, mind, heart and soul, could not be more complete. Yet what we are seeing is an exact reflection of what happens when human consciousness becomes restricted to no more than the ego, and the complexities of human love are reduced to no more than the physicality of the sexual drive. This finds its ultimate expression simply in the physical release of masturbation, stimulated by fantasy images in the mind. Once the sense of the Self and a living connection with the world outside the ego is lost, such is the sterile dead end to which the whole process must inexorably lead.1
倒计时仍在继续：劳伦斯和查泰莱夫人
The countdown continues: Lawrence and Lady Chatterley
乔伊斯完成《尤利西斯》五年后，DH 劳伦斯开始在托斯卡纳创作这本书，最终使他成为二十世纪最著名的小说家之一。《查泰莱夫人的情人》出版于 1928 年，几乎立即在英国和美国被禁，它以一种与乔伊斯完全不同的方式探讨了劳伦斯所说的“性问题”。在《尤利西斯》中，性行为被表现为偷偷摸摸和孤独的，而在《查泰莱夫人》中对男女幸福结合的描述占据了中心舞台。事实上，小说刚开始，有两件事就变得显而易见了。当我们第一次见到女主人公查泰莱夫人时，她是“一个面色红润、乡村风格的女孩”，有着“好奇的大眼睛”，而她的丈夫克利福德·查泰莱爵士则有着“面色红润、健康的脸庞”和“淡蓝色的脸”。 “充满挑战、目光明亮”，从劳伦斯小说般的语气中可以明显看出，这是一个高度感伤的故事。很快我们就会发现，这本书是一本道德小册子，旨在对性在人类生活中所扮演的角色提出一种非常独特的观点。我们听说，当康斯坦斯·查泰莱和她的妹妹十几岁的时候，战前在德累斯顿的德国学生恋人手中第一次经历了“这种性交易”，他们认为男人“像狗一样坚持这种性行为”。对于女孩们来说，“性的事情也有其本身的快感；” 体内一种奇怪的、颤动的兴奋，自我主张的最后痉挛”。但“女性一直都知道有更好、更高的东西”。小说的真正目的是要揭示康妮对“性交易”还有多少了解。
Five years after Joyce completed Ulysses, D. H. Lawrence began writing in Tuscany the book which was eventually to make him one of the best-known novelists of the twentieth century. Published in 1928, and almost immediately suppressed in both Britain and America, Lady Chatterley’s Lover approached what Lawrence called ‘the problem of sex’ in a way totally different from Joyce. Whereas in Ulysses, the sexual act is presented as furtive and solitary, in Lady Chatterley the descriptions of the happy coupling of a man and a woman take centre stage. Indeed, scarcely has the novel begun than two things about it become obvious. As we first meet the heroine, Lady Chatterley, ‘a ruddy, country-looking girl’ with ‘big, wondering eyes’, and her husband, Sir Clifford Chatterley, with his ‘ruddy, healthy-looking face’ and ‘pale-blue, challenging, bright eyes’, it is clear from Lawrence’s novelettish tone that this is to be a story conceived on a highly sentimental plane. What is also soon evident is that it is to be a kind of moralistic tract, to argue for a very particular view of the role sex can play in human life. We hear how, when as teenagers, Constance Chatterley and her sister had first experienced ‘this sex business’ at the hands of German student lovers in Dresden before the war, they felt that men ‘insisted on this sex thing like dogs’. For the girls, ‘the sex thing had a thrill of its own too; a queer, vibrating thrill inside the body, a final spasm of self-assertion’. But ‘women had always known there was something better, something higher’. To put over how much Connie has still to learn about ‘this sex business’ is the real purpose of the novel.
克利福德·查泰莱在故事中的角色是劳伦斯希望攻击的现代世界和当代英国一切事物的硬纸板混合物，因为它是压抑的、衰弱的和反对生活的。克利福德爵士住在他的祖居拉格比霍尔，靠近煤矿村，那里的居民肮脏、残酷，为他提供了财富，克利福德爵士代表了上层阶级的特权和傲慢。他是一个靠别人的有辱人格的工作为生的资本家。由于战时受伤，他瘫痪了，只能坐在轮椅上，与现实世界隔绝。他以自我为中心、不真实的方式，几乎完全靠自己的思想生活，写出珍贵的、伪知识分子的小说。他年轻的妻子康妮（Connie）现在二十多岁了，他与这个怪物陷入了一场不流血的婚姻，感觉自己的青春和精神都在消失，没有什么可以活下去的。然后劳伦斯把她和猎场看守梅勒斯带到了一起，梅勒斯代表了克利福德爵士所不代表的一切。他出身于工人阶级，尽管他在战争期间被任命为军官，以证明他的男子气概。由于经历了一场灾难性的婚姻，他变得孤独、独立，喜欢远离社会，生活在森林的自然世界中。最重要的是，他的身体素质非常好，这就是为什么不久之后，他和康妮就投入了彼此的怀抱，进行了疯狂而热烈的爱情，这正是小说的真正含义。为了证明他的男子气概，他在战争期间被任命为军官。由于经历了一场灾难性的婚姻，他变得孤独、独立，喜欢远离社会，生活在森林的自然世界中。最重要的是，他的身体素质非常好，这就是为什么不久之后，他和康妮就投入了彼此的怀抱，进行了疯狂而热烈的爱情，这正是小说的真正含义。为了证明他的男子气概，他在战争期间被任命为军官。由于经历了一场灾难性的婚姻，他变得孤独、独立，喜欢远离社会，生活在森林的自然世界中。最重要的是，他的身体素质非常好，这就是为什么不久之后，他和康妮就投入了彼此的怀抱，进行了疯狂而热烈的爱情，这正是小说的真正含义。
The role of Clifford Chatterley in the story is to stand as a kind of cardboard amalgam of everything about the modern world and contemporary England that Lawrence wishes to attack, as oppressive, effete and opposed to life. Living in his ancestral home, Wragby Hall, near the coal-mining village with its squalid, brutalised inhabitants which provides his wealth, Sir Clifford represents the privilege and arrogance of the upper classes. He is a capitalist living off the degrading work of others. Paralysed by the wartime injury which confines him to a wheelchair, he is cut off from the physical world. And in his self-centred, unreal way, he lives almost entirely through his mind, writing precious, pseudo-intellectual novels. Trapped in a bloodless marriage to this monster, his young wife Connie, now in her late twenties, feels her youth and spirit fading away, with nothing left to live for. Then Lawrence brings her together with Mellors, the gamekeeper, who stands for everything Sir Clifford is not. He comes from a working-class background, although, as evidence of his manly qualities, he had during the war been made an officer. Bruised by a disastrous marriage, he is a solitary, independent figure, who likes to live apart from society in the natural world of the woods. Above all, he is supremely physical, which is why, before long, he and Connie are falling into each other’s arms, to make the mad passionate love which is what the novel is really all about.
劳伦斯想要展示的是，男人和女人之间的身体性行为是人类所能知道的最高、最深、最能增强生命的体验。当他以更加生动的细节描述康斯坦斯和梅勒斯的结合时，他希望强调这种程度的性亲密只有少数人才能希望达到。上页。140（企鹅版），他们第一次享受相互高潮：
What Lawrence wants to show is how the physical act of sex between a man and a woman is the highest, deepest, most life-enhancing experience humanity can know. As he describes the couplings of Constance and Mellors in ever more graphic detail, he wishes to emphasise that this level of sexual intimacy is something which only a minority of people can ever hope to achieve. On p. 140 (Penguin edition), they for the first time enjoy mutual orgasm:
”她转身看着他。“那次我们一起出发”，他说。
‘She turned and looked at him. “We came off together that time”, he said.
她没有回答。
She did not answer.
“这样就好了。大多数人都度过了自己的一生，但他们从来不知道”，他说道，语气颇为梦幻……
“It’s good when it’s like that. Most folks live their lives through and they never know it”, he said, speaking rather dreamily ...
“人们不是经常一起出去吗？” 她带着天真的好奇问道。
“Don’t people often come off together?” she asked with naïve curiosity.
“他们中的很多人从来没有。你可以从他们的原始外观看出。”
“A good many of them never. You can see by the raw look of them.”’
由 p。180，她正在享受远远超出她想象的高潮：
By p. 180, she is enjoying an orgasm far greater than anything she could have imagined possible:
“她再次颤抖着，因为那股强有力的、无情的进入她体内，如此奇怪和可怕……她敢于放弃一切，在洪水中消失。” 看起来就像大海一样，只有黑暗的波浪在升起和起伏，随着巨大的波浪而起伏，所以慢慢地，她的整个黑暗都在运动，她正在海洋滚动其黑暗、无声的质量。哦，在她内心深处，深渊分开并滚滚分开，在长长的，远行的巨浪中，并且随着她的快速动作，当柱塞更深时，深处从柔软的插入中心分开并滚滚分开。越来越深，越来越低，她越来越深，越来越深，越来越深，她的波浪越来越重，滚向某个海岸，露出她的面容，越来越近地陷入可触知的未知，越来越远地把她自己的波浪卷走从她自己来说，直到突然间，她全身的血液都被触动了，她知道自己被触动了，圆满就在她身上，然后她就消失了。她走了，她没有，但她诞生了：一个女人。
‘She quivered again at the potent inexorable entry inside her, so strange and terrible ... she dared let go everything, and be gone in the flood. And it seemed it was like the sea, nothing but dark waves raising and heaving, heaving with a great swell, so that slowly her whole darkness was in motion, and she was ocean rolling its dark, dumb mass. Oh, and far down inside her the deeps parted and rolled asunder, in long, far-travelling billows, and ever, at the quick of her, the depths parted and rolled asunder, from the centre of soft plunging, as the plunger went deeper and deeper, touching lower, and she was deeper and deeper and deeper disclosed, the heavier the billows of her rolled away to some shore, uncovering her, and closer and closer plunged the palpable unknown, and further and further rolled the waves of herself away from herself, leaving her, till suddenly, in a soft, shuddering convulsion, the quick of all her plasm was touched, she knew herself touched, the consummation was upon her, and she was gone. She was gone, she was not, and she was born: a woman.’
就讲故事而言，这些东西的问题在于它无法带来任何结果。正如劳伦斯所强调的那样，查泰莱夫人和梅勒斯走到一起的原因是他们的性取向。他们的故事并不是真正的爱情故事，而是性故事。部分包含了整体。他们的关系几乎没有任何其他因素来定义。作为社会存在，他们被牢牢地分开，尤其是梅勒斯坚持不断地闯入广泛的德比郡方言，尽管，作为一名受过教育的前军官，他完全有能力在他选择的时候用所谓的“标准英文'。在一段时间内，可以通过描述他们做爱的进一步变化来维持故事的动力，比如当两人在雨中赤身裸体跑进树林时，梅勒斯从后面抓住了他的情妇。2 “加大赌注”的感觉是通过越来越多地使用有限的“令人震惊”的四个字母单词来维持的，而小说最终也因此而闻名（“fuck”、“cunt”、shit'、“piss”） ，“屁股”）。两人的交往越来越沦为感情游戏，他们给彼此的性器官起了名字“约翰·托马斯”和“简夫人”，并用野花装饰它们。
The trouble with this stuff, in terms of telling a story, lies in the fact that it cannot lead anywhere. What has brought Lady Chatterley and Mellors together, as Lawrence emphasises, is their sexuality. Theirs is not really a love story, it is a sex story. The part has subsumed the whole. Their relationship is defined by almost nothing else. As social beings they are kept firmly apart, not least by Mellors’s insistence on constantly breaking into broad Derbyshire dialect, even though, as an educated former army officer, he is perfectly capable of speaking, when he chooses to, in what is known as ‘standard English’. For a while it is possible to sustain the story’s momentum by describing further variations on their lovemaking, as when the pair run naked out into the woods in the rain, and Mellors possesses his mistress from behind.2 The sense of ‘upping the ante’ is maintained by increasing use of that limited selection of ‘shocking’ four-letter words for which the novel was eventually to become famous (‘fuck’, ‘cunt’, shit’, ‘piss’, ‘arse’). The exchanges between the two degenerate more and more into sentimental game-playing, as when they give each other’s sexual organs the names of ‘John Thomas’ and ‘Lady Jane’, while decorating them with wild flowers.
然而，从故事的角度来看，问题是它们是社会人，生活在社会环境中。描绘他们幸福地迷失在树林里的私人小自我世界中，享受性爱是一回事。但任何故事的要求都是它必须发展，努力走向高潮和结局。在这里，劳伦斯陷入了冲突：他的幻想自我渴望看到他的男女主人公走向一个典型的幸福结局，而那些更深层次的讲故事的原型规则规定了这一点，因为它的定义方式，他们的关系不能就这样结束。最重要的是，康妮和梅勒斯都已与其他人结婚。当劳伦斯试图操纵他的情节，让他们可以在外面的世界里像在床上一样自由地在一起时，他的舞台机械的嘎吱声变得震耳欲聋。康妮被梅勒斯怀孕，然后前往威尼斯，向她的丈夫掩盖她的父亲是别人的故事。与此同时，梅勒斯的哈里丹妻子回来认领他，制造了有关他与其他女人发生性关系的丑闻，导致他被解雇。情节逐渐变得更加不可能，尤其是在伦敦的美妙而可怕的场景，梅勒斯遇见康斯坦斯的父亲马尔科姆·里德爵士，以赢得他的支持：
In story terms, however, the problem is that they are social beings, living in a social context. It is one thing to portray them happily lost in their private little ego-world in the woods, enjoying sex. But the demand of any story is that it must develop, to work towards a climax and resolution. And here Lawrence becomes caught up in the conflict between the urge of his fantasy-self to see his hero and heroine heading off for an archetypal happy ending, and those deeper archetypal rules of storytelling which dictate that, because of the way it has been defined, their relationship cannot end that way. Most importantly, both Connie and Mellors are married to other people. And as Lawrence tries to manipulate his plot towards the point where they may be free to come as fully together in the outside world as in the privacy of the bed, the creaking of his stage machinery becomes deafening. Connie is made pregnant by Mellors, then goes off to Venice to provide cover for her story to her husband that the father is someone else. Meanwhile Mellors’s harridan wife returns to claim him, creating a scandal about him carrying on with other women which leads to him being fired from his job. The plot spirals into ever more forced improbabilities, above all the wonderfully awful scene in London where Mellors meets Constance’s father Sir Malcolm Reid, to win him over to their marriage:
马尔科姆爵士点燃了一根雪茄，热切地说：“那么，年轻人，那我的女儿呢？”
‘Sir Malcolm lit a cigar and said, heartily: “Well, young man, and what about my daughter?”
梅勒斯的脸上闪现出笑容。“那么，先生，那她呢？”
The grin flickered on Mellors’s face. “Well, Sir, and what about her?”
“她肚子里已经有你的孩子了。” “我有这个荣幸！” 梅勒斯咧嘴一笑。
“You’ve got a baby in her all right.” “I have that honour!” grinned Mellors.
“以上帝为荣！” 马尔科姆爵士发出一阵咯咯的笑声，变得苏格兰人和淫荡。
“Honour, by God!” Sir Malcolm gave a little squirting laugh, and became Scotch and lewd.
“荣誉！进展如何，嗯？很好，我的孩子，什么？”
“Honour! How was the going, eh? Good, my boy, what?”
“好的！”
“Good!”
“我敢打赌一定是这样！哈哈！我的女儿，老块的芯片，什么！我自己从来没有做过一次很好的操……你让她温暖起来，哦，你让她温暖起来，我看得出来。她身上有我的血！你放火烧了她的干草堆，好吧。哈哈哈！我可以告诉你，我对此感到非常高兴。她需要它……哈哈哈！一个猎场守门员，呃，我的孩子！如果你问我的话，该死的好偷猎者。哈哈！....”'
“I’ll bet it was! Ha-ha! My daughter, chip of the old block, what! I never went back on a good bit of fucking, myself ... you warmed her up, oh, you warmed her up, I can see that. My blood in her! You set fire to her haystack, all right. Ha-ha-ha! I was jolly glad of it, I can tell you. She needed it ... ha-ha-ha! A game keeper, eh, my boy! Bloody good poacher, if you ask me. Ha-ha! ....”’
劳伦斯最终设法将康斯坦斯与愤怒的克利福德爵士解开，克利福德爵士现在与年长的女仆博尔顿夫人陷入了婴儿般的母子关系。她去苏格兰和父亲住在一起，等待孩子的出生和离婚。与此同时，梅勒斯找到了一份农场工人的工作，梦想着有一天他和康斯坦斯能够在自己的小农场里一起安家。故事的结尾是他写给康斯坦斯的一封长信，哀叹现代文明的厄运，沉迷于金钱，与更深层次的生活节奏隔绝，并描述了他如何紧紧抓住他们所拥有的“五旬节小火焰”的记忆。他们之间已经“发生”了。结束语“约翰·托马斯向简女士道晚安，语气有点低沉，但心里充满希望”，反映了劳伦斯为他的故事提供结局所能聚集的所有感伤的渴望情绪。一切都还没有真正得到解决。这个故事已经支离破碎，变成了模糊的一厢情愿。在试图传播他的信念时，即身体之间的性行为一个男人和一个女人可以代表完整的爱情，劳伦斯试图挑战原型。一如既往，原型赢了。
Lawrence finally manages to disentangle Constance from the outraged Sir Clifford, who has now sunk into an infantile mother-and-son relationship with an older female servant, Mrs Bolton. She goes to live with her father in Scotland, waiting for the baby and for her divorce. Mellors meanwhile takes a job as a farm labourer, dreaming that he and Constance might one day be able to set up home together on a small farm of their own. The story concludes with a long letter from him to Constance, bemoaning the doomed state of modern civilisation, obsessed with money, cut off from the deeper rhythms of life, and describing how he is hanging onto the memory of that ‘little Pentecost flame’ they had ‘fucked into being’ between them. The closing words, ‘John Thomas says good night to Lady Jane, a little droopingly, but with a hopeful heart’, reflect the wistful mood of sentimentality which is all Lawrence can muster to provide his tale with an ending. Nothing has really been resolved. The story has simply fallen apart, into vague wishful thinking. In trying to evangelise for his belief that physical sexuality between a man and a woman can stand for the totality of love, Lawrence has sought to defy the archetypes. As always, the archetypes have won.
射击尼亚加拉
Shooting Niagara
三十多年来，这些写于 20 年代的书籍的未删除版本始终远离公众视野。就像克莱兰和德萨德早期的小说一样，它们在大西洋两岸都被正式禁止，只能从半地下出版商（例如总部位于巴黎和纽约的奥林匹亚出版社和格罗夫出版社）获得非法版本。法律不仅禁止出版此类材料。整个社会仍然继续公开接受这些法律所依据的道德价值观。例如，《海耶斯法典》（Hayes Code）最清楚地体现了这些标准，这是好莱坞电影业自愿采用的自我审查制度，它对电影中可以放映或不可以放映的内容制定了精确的规则。屏幕，
For more than 30 years unexpurgated versions of these books written in the 1920s remained firmly out of public view. Officially banned on both sides of the Atlantic, like the earlier novels by Cleland and de Sade, they were available only in illicit editions from semi-undergound publishers like the Olympia and Grove Presses, based in Paris and New York. Not only did the law prohibit the publication of such material. Society in general still continued publicly to accept the moral values on which these laws were based. In nothing were those standards more clearly reflected, for instance, than in the Hayes Code, the system of self-censorship voluntarily adopted by the cinema industry in Hollywood, which laid down precise rules as to what could or could not be shown on a movie screen, right down to the maximum number of seconds an actor and actress could be seen making physical contact in a kiss.
然后，到了 20 世纪 50 年代，所有那些禁止过于公开展示性意象的严格禁忌（这些禁忌或多或少已经存在了数千年）突然开始崩溃。在历史上前所未有的物质繁荣的推动下，基于一波新技术进步，西方世界的集体心理开始发生巨大的转变。这体现在 1955 年至 1958 年左右出现的一种痴迷于时尚的新“青年文化”中，其以摇滚乐为基础的新形式的流行音乐、对毒品的接受和更多的性乱交，以及拒绝任何与他们的长辈所鄙视的“方形”世界有关的东西。强大的新意象形式的出现极大地强化了这一点，首先是通过突然无处不在的电视屏幕。所有这些都有助于在人们的头脑中营造出一种感觉，即他们正在进入一个全新的时代，在这个时代，与过去相关的思维和行为惯例现在可以被抛弃，因为它们是限制性的和无关紧要的。这种令人陶醉的自由感在所有受所谓“传统道德”规则支配的生活领域中得到了最明显的体现。
Then, in the 1950s, all those strict taboos against the too overt display of sexual imagery, which to a greater or lesser extent had survived through thousands of years, quite suddenly began to crumble. Fuelled by the onset of a material prosperity like nothing known before in history, based on a wave of new technological advances, an immense shift was beginning to take place in the collective psyche of the Western world. This found expression in the emergence around 1955–1958 of the obsessively fashion-conscious new ‘youth culture’, with its new forms of popular music based on the beat of rock ’n roll, its acceptance of drugs and greater sexual promiscuity, and a rejection of anything identified with the despised ‘square’ world of their elders. It was heavily reinforced by the presence of powerful new forms of imagery, above all through the suddenly ubiquitous television screen. All this helped create in people’s heads a sense that they were entering an entirely new age, in which conventions of thinking and behaviour associated with the past could now be thrown aside as constricting and irrelevant. And nowhere did this heady sense of freedom find more obvious expression than in all those areas of life governed by the rules of what came to be known as ‘traditional morality’.
1959年，英国工党政客罗伊·詹金斯顺应时代精神，在议会通过了一项新法律——《淫秽出版物法》。其目的是放宽对可被视为严肃“文学”的书籍的审查，同时继续允许对可被视为纯粹“色情作品”的出版物进行审查。当然不可能起草任何法律定义来准确区分什么是“艺术”和什么是“污秽”。正是这项法案在英国成为了一个分水岭，1960 年，企鹅图书公司决定尝试这项新法案，出版了第一本未删除的普通版《查泰莱夫人的情人》。
In Britain in 1959, in keeping with the spirit of the times, a Labour politician, Roy Jenkins, passed through Parliament a new law, the Obscene Publications Act. Its intention was to liberalise censorship on books which could be seen as serious ‘literature’, while continuing to allow that of publications which could be regarded as mere ‘pornography’. It was of course impossible to draft any legal definition to distinguish precisely between what was ‘art’ and what was ‘filth’. And it was this Act which in Britain was to prove the watershed, when in 1960 Penguin Books chose to try out the new law by publishing the first general unexpurgated edition of Lady Chatterley’s Lover.
查泰莱夫人似乎是这样一个测试案例的理想人选（事实上，去年出于类似的原因，完整版已经在美国出版了），因为劳伦斯如此明确地希望他的书不被视为色情作品，他鄙视色情作品，但作为一件严肃的艺术品。接下来是两种根本对立的心态之间的斗争将在未来几年中多次重复。一方面是“进步派”，声称劳伦斯的小说是二十世纪最伟大的文学作品之一。他们的证人中最引人注目的是英国圣公会伍尔维奇主教，他在法庭上声称劳伦斯将性行为描述为一种“圣餐”。另一方是由他们的QC默文·格里菲斯-琼斯领导的“反动派”，他同样著名地询问陪审团这是否真的是一本他们希望他们的“妻子或仆人读”的书。
Lady Chatterley seemed the ideal candidate for such a test case (indeed a full version had already been published in America, for similar reasons, the previous year), because Lawrence so clearly intended his book to be considered not as pornography, which he despised, but as a serious work of art. What followed was a battle between two fundamentally opposed mindsets which was to be repeated many times over the years ahead. On one side were the ‘progressives’, claiming that Lawrence’s novel was one of the greatest works of literature of the twentieth century. A prize catch among their witnesses was the Anglican Bishop of Woolwich, who famously claimed in court that Lawrence had portrayed the sex act as a kind of ‘holy communion’. On the other were the ‘reactionaries’, led by their QC, Mervyn Griffiths-Jones, who equally famously asked the jury whether this was really a book they would wish their ‘wives or servants to read’.
这句话引起了进步人士的欢欣雀跃，反映出现在已成为他们为“推回社会允许的界限”而进行的斗争的一个重要心理特征。进步派实际上需要社会上“反动”分子的这种自我讽刺式的不满表达，因为这有助于证实他们参与了一场英雄十字军东征的信念。他们需要能够嘲笑这些反动派是“反生命”、心胸狭隘、墨守成规、性压抑，是“一本正经”、“清教徒”和“正经人”，他们唯一关心的是限制他人的自由，因为这对于建立他们事业的道德正义感至关重要。
The delighted howls of scorn this remark aroused from the progressives reflected what had now become a significant psychological feature of their battle to ‘push back the frontiers’ of what was socially permissible. The progressives actually needed such self-caricaturing expressions of disapproval from the ‘reactionary’ elements in society, because it helped confirm their conviction that they were involved in a heroic crusade. They needed to be able to deride these reactionaries as ‘anti-life’, narrow-minded, hidebound, sexually-repressed, as ‘prigs’, ‘Puritans’ and ‘prudes’ whose only concern was to restrict other people’s freedom, because this was vital to building up their sense of the moral righteousness of their cause.
但他们想象中为之奋斗的“自由”的真正本质是什么？他们自己的观点是，通过抛开旧的道德惯例，他们正在进入一个无限的新世界，在这个世界里，一切皆有可能。然而现实却大不相同。他们没有意识到，他们正在进入的这个新领域将在很大程度上受到其自身的法律和约束的约束，其中之一就是不断地进一步推动允许的界限。对一部新小说、戏剧或电影的最高赞誉是它“令人兴奋”、“震惊”、“大胆”、“令人不安”或“令人作呕”，因为它剥夺了社会所认为的更深层的东西。可以接受。但每次“边界”被推后，下一次就需要增加剂量，
But what was the real nature of this ‘freedom’ for which they imagined they were fighting? Their own view was that, by thrusting aside the old moral conventions, they were moving forwards into a boundless new world in which anything might now be possible. Yet the reality was very different. What they did not realise was that this new realm they were entering would be very much subject to laws and constraints of its own, one of which was the compulsion constantly to push the bounds of what was permissible a little further. The highest terms of praise for a new novel, play or film were that it was ‘exciting’, ‘shocking’, ‘daring’, ‘disturbing’ or ‘sickening’, in that it stripped away some further layer of what was considered socially acceptable. But each time the ‘frontiers’ were pushed back, it would be necessary next time to heighten the dose, to sustain the sense of novelty on which the spiral depended.
关于查泰莱夫人的情人的法律纠纷与故事本身无关。实际上，劳伦斯的整部小说在 1960 年之前已经免费出售了很多年。就像纳博科夫的《洛丽塔》一样，从表面上看，这是一个更“令人震惊”的故事，因为它以一名中年恋童癖者与一名 12 岁女孩的性关系为中心，自 1955 年以来未经审查就出版了。关于查泰莱夫人版本的“新”东西企鹅图书公司赢得历史性官司的原因是它包含了一些性爱场景的更生动的细节；更具体地说，它包括那些公开禁忌（尽管私下早已熟悉）的四字母词。陪审团一致认为，根据詹金斯法案，现在应该允许将这些内容付诸印刷。这件事的新颖性如此之大，以至于尽管一两家报纸在报道审判时自觉地印上了“F”字，但在公众对这些字眼的使用变成通用货币之前，还需要相当长的一段时间。在印刷品、舞台或屏幕上。但本质上，闸门已经打开。在接下来的几年里，这比历史上任何事情都更戏剧性地改变了讲故事的特征。
The legal battle over Lady Chatterley’s Lover was not about the story itself. Almost the whole of Lawrence’s novel had in fact been freely on sale for many years before 1960; just as Nabokov’s Lolita, on the face of it a much more ‘shocking’ story, in that it centred on the sexual relationship of a middle-aged paedophile with a 12-year old girl, had been published uncensored ever since 1955. The only thing ‘new’ about the version of Lady Chatterley on which Penguin Books won its historic court case was that it included the more graphic details of some of the sex scenes; and, more specifically, that it included those publicly taboo (though privately long-familiar) four-letter words. It was these the jury agreed it should now be permissible, under Jenkins’s Act, to put into print. So great was the novelty of this that, although one or two newspapers self-consciously printed the ‘F’ word in reporting on the trial, it was to be quite some time before public use of these words passed into anything like general currency, either in print or on stage or screen. But in essence the floodgates had been opened. Over the years to come, this was to transform the character of storytelling more dramatically than anything in its history.
走进暮色世界
Into the twilight world
接下来发生的事情可以简单地通过描述一些电影、戏剧和小说来概括，这些电影、戏剧和小说在接下来的几年里成为了特殊的里程碑，因为每一个故事都被誉为将故事进一步“解放”一步到了领域。迄今为止，性和暴力都被认为是被禁止的。当我们审视这些故事时，我们看到了某种模式的出现。
What happened next can be summed up simply by describing some of the films, plays and novels which in the years that followed came to stand out as particular landmarks, because each in turn was hailed as taking stories a further ‘liberating’ step into areas of sex and violence hitherto considered forbidden. As we look at these stories, we see a certain pattern emerging.
阿尔弗雷德·希区柯克 (Alfred Hitchcock) 的《惊魂记》(Psycho)是《查泰莱夫人》在英国出版当年发行的第一批里程碑式作品之一。（1960）。与他最近的其他电影不同的是，这部电影以赤裸裸的黑白拍摄，将主流好莱坞电影制作带入了前所未有的个人暴力和性偷窥的维度。该剧间接改编自连环杀手的真实故事，讲述了一位年轻漂亮的女主角玛丽昂，她第一次出现时穿着性感内衣，与一名已婚男子在午餐时间发生了不愉快的性关系。为了引诱他娶她，她毫无希望地从雇主那里偷了一大笔钱，然后漫无目的地开车到了一个偏僻的地方。为了躲避警察，她最终在一家孤独的汽车旅馆租了一个房间，她是那里唯一的客人。她了解到诺曼·贝茨，这个令人毛骨悚然的年轻人的主人，以填充鸟类为爱好，并与他疯狂的母亲生活在险恶的环境中，
One of the first landmarks, released in the year Lady Chatterley was published in Britain, was Alfred Hitchcock’s Psycho (1960). Shot, unlike his other recent films, in stark black-and-white, this took mainstream Hollywood movie-making into a dimension of personal violence and sexual voyeurism it had never entered before. Based indirectly on the real-life story of a serial killer, it focused on a pretty young heroine, Marion, who is first seen, in sexy underwear, engaged in an unhappy lunchtime sexual liaison with a married man. In a hopeless bid to lure him into marrying her, she steals a large sum of money from her employer and drives aimlessly off into the middle of nowhere. On the run from the police, she ends up taking a room at a lonely motel, where she is the only guest. She learns that Norman Bates, the creepy young man who owns it, stuffs birds for a hobby and lives with his mad mother in a sinister, dark old house behind the motel (she hears the two of them arguing).
当马里昂回到她的小屋脱掉衣服只穿内衣时，我们看到他通过墙上的一个洞监视着她。她决定第二天要归还藏在报纸里的赃款，然后赤身裸体地走进淋浴间。一个半瞥见的灰发女人偷偷溜进房间，当淋浴开始时，我们看到，伴随着令人神经紧张的音乐，提醒我们这是娱乐，马里昂被刺了十四刀，有时是在淋浴间幕布，有时是特写，有时是慢动作，这是好莱坞有史以来最令人震惊和旷日持久的谋杀场面。当她最终倒在地板上死去时，她的血液顺着堵塞的孔流下来，诺曼进来清理，把她的尸体（和钱）塞进她的汽车后备箱，然后把它推到附近的沼泽里，在那里它从视线中消失了。
When Marion retires to her cabin to undress to her underwear, we see him spying on her through a hole in the wall. Having decided that next day she will return the stolen money, which is hidden in newspaper, she enters the shower naked. A half-glimpsed grey-haired woman sneaks into the room and, while the shower is running, we then see, to the accompaniment of nerve-jangling music to remind us that this is entertainment, Marion being stabbed fourteen times, sometimes through the shower curtain, sometimes in close-up, sometimes in slow motion, in the most shocking and protracted murder sequence Hollywood had ever shown. When she finally sinks dead to the floor, her blood spiralling down the plughole, Norman comes in to clean up, bundles her body (and the money) into the boot of her car and pushes it into a nearby swamp where it sinks from sight.
马里昂失踪一周后，她的妹妹莉拉聘请了一名私家侦探来寻找她。他来到汽车旅馆，发现贝茨可疑地回避，便走开报告他的发现，然后回来希望能在老房子里采访贝茨神秘的母亲。当他爬上楼梯时，一名疯狂的持刀老妇猛地扑向他，她多次将他刺死，这是一场旷日持久的谋杀现场，几乎比第一场更加血腥和暴力。
A week after Marion has vanished, her sister Lila hires a private detective to find her. He comes to the motel, finds Bates suspiciously evasive, goes away to report what he has discovered, then returns hoping to interview Bates’s mysterious mother in the old house. He is climbing the stairs when he is sprung on by a crazed, knife-wielding old woman who repeatedly stabs him to death, in a prolonged murder scene almost bloodier and more violent than the first.
当侦探未能给他们回电话时，莉拉和玛丽昂的情人山姆出发去寻找他在汽车旅馆发生的事情。当他们从当地警察那里得知贝茨夫人并不存在时，他们感到特别不安。十年前，她和她的情人被发现死于可疑的情况。他们发现了可疑的线索，表明玛丽昂一定住在“1 号小屋”。当山姆与贝茨交谈时，莉拉探索了这座阴森的老房子，最后在地窖里发现了坐在椅子上的老妇人。当莉拉把贝茨夫人转过来时，她发现她是一具木乃伊尸体。这时门口又出现了一位老妇人，准备用刀刺伤吓坏了的莉拉，但被山姆从后面抓住，原来是戴着假发、穿着女装的诺曼。贝茨被带到牢房接受审讯后，一位精神病医生解释了他作为一个母亲的儿子为何如此精神病，以至于十年前他在嫉妒的愤怒中杀死了他的母亲和她的情人。然后，他挖出了母亲的尸体，制成木乃伊，并继续与她生活在一起：有时是他自己，那个神经质的儿子，有时则呈现出他失踪母亲的性格。正是在他伪装成母亲的幻想自我中，他犯下了一系列谋杀案，最终导致了玛丽昂和侦探的谋杀。影片以马里昂的汽车、她的尸体和钱从沼泽中被找到而结束。
When the detective fails to ring them back, Lila and Marion’s lover Sam set out to find what happened to him at the motel. They are particularly disturbed to learn from a local policeman that there is no Mrs Bates. She and her lover had been found dead in suspicious circumstances 10 years earlier. They find suspicious clues that Marion must have stayed in ‘Cabin 1’. While Sam holds Bates in conversation, Lila explores the spooky old house, and finally in the cellar finds the old woman sitting in a chair. When she turns Mrs Bates round, Lila sees that she is a mummified corpse. At this moment another old woman appears in the doorway, ready to stab the now terrified Lila with a knife, but is grabbed from behind by Sam and turns out to be Norman in a wig and female clothing. After Bates has been taken to a prison cell and interrogated, a psychiatrist explains how he was a mother’s boy so psychotic that it was he who had killed his mother and her lover 10 years before in a jealous rage. He had then dug up and mummified his mother’s body and continued to live with her: sometimes as himself, the neurotic son, sometimes taking on the personality of his lost mother. It was in his fantasy-self, disguised as his mother, that he had committed a whole sequence of murders, culminating in those of Marion and the detective. The film ends with Marion’s car, her body and the money being recovered from the swamp.
《惊魂记》的新颖之处在于它对两起谋杀案的身体细节的痴迷。希区柯克花了两周时间拍摄女主角在淋浴时被刺伤的场景。这是影片的中心部分，就像女主人公最终高潮的时刻是查泰莱夫人的中心部分一样。一个裸体年轻女子被残酷杀害的身体形象的悬念逐渐上升，为故事提供了令人震惊的亮点，就像在那些十八世纪的小说中，其对应的内容是逐渐上升到最终女主人公的形象一样。失去童贞。从某种意义上说，这个故事已经成为这些最激动人心的时刻的框架。尽管最终我们看到贝茨被关在牢房里，但这并不是底层原型所要求的对精神病怪物的宣泄式毁灭。这里的兴趣仅仅在于从他如何以及为何犯下可怕罪行的解释中榨取最后一滴感觉。他以后的命运无人关心。
What was new about Psycho was its obsessional focusing on the physical details of the two murders. Hitchcock spent two weeks shooting the scene in which the heroine is stabbed in the shower. This is the centrepiece of the film, just as the moment of the heroine’s ultimate orgasm had been the centrepiece of Lady Chatterley. The gradual working-up of suspense towards this physical image of a naked young woman being brutally murdered provided the story with its shocking highlight, just as in those eighteenth-century novels its equivalent had been the gradual working up to the image of the heroine finally losing her virginity. In a sense the story has become just a frame for these moments of maximum sensation. And although in the end we see Bates in a prison cell, this is scarcely the cathartic destruction of the psychopathic monster which the underlying archetype demands. The interest here lies merely in squeezing a last drop of sensation out of the explanation as to how and why he committed his awful crimes. His subsequent fate is of no concern.
20 世纪 50 年代末到 60 年代中期，电影和戏剧性质发生的变化的规模和速度比讲故事史上的任何变化都更加引人注目。短短几年之内，感伤、浪漫的好莱坞电影和值得尊敬的、“精心制作”的战后戏剧都显得难以置信的纯真和过时，因为电影院和剧院被“新的”电影所取代。这波故事总体上更难、更明显、更耸人听闻、基调更超现实。引领这一领域的是当时一些更“大胆”的剧作家，特别是在英格兰。1962年，当第一部詹姆斯·邦德电影在伦敦莱斯特广场上映时，一系列新的戏剧在附近的艺术剧院上演，该电影展示了自己经过净化的性和暴力版本。它以约翰尼·斯佩特的《Knacker's Yard》被当时的一位评论家描述为展示了一个名叫莱德的“神秘而险恶的人物”来到一所肮脏的寄宿处，他每晚的快乐是
The scale and speed of the change which came over the nature of films and plays between the late 1950s and the mid-1960s was more dramatic than any in the history of storytelling. Within just a few years the sentimental, romantic Hollywood movies and respectable, ‘well-crafted’ plays of the post-war era were made to seem unimaginably innocent and old-fashioned, as the cinema and the theatre were taken over by a ‘new wave’ of stories altogether harder, more overtly sensational and more surreal in tone. Leading the field were some of the more ‘daring’ playwrights of the time, notably in England. In 1962, just when the first James Bond film, presenting its own sanitised version of sex and violence, was being launched in London’s Leicester Square, a series of new plays was staged at the nearby Arts Theatre. It opened with Johnny Speight’s The Knacker’s Yard, described by a critic of the time as showing the arrival at a squalid boarding house of ‘a mysterious and sinister figure’ called Ryder, whose nightly pleasure was
“在英国国旗的爱国小祭坛上，用剃刀仪式性地砍掉一系列性感的裸体女郎。所有这些，加上他收藏的大量手袋，似乎表明他一定是附近的开膛手杰克式杀手。
‘ritually slashing a series of voluptuous nude pin-ups with a razor on a little patriotic altar of Union Jacks. All of which, plus his large collection of handbags, seems to suggest that he must be the Jack-the-Ripper-like killer in the neighbourhood.’
莱德最终用毒气自杀了。该系列的另一部戏剧，由皇家莎士比亚剧团上演的大卫·鲁德金的《夜幕降临》 ，达到了“令人毛骨悚然的高潮，涉及在毒药喷雾下的仪式谋杀”害虫防治直升机”。第三个是弗雷德·沃森（Fred Watson）在弗雷德·金杰之家（House of Fred Ginger）的杀婴案，以无端杀害一名儿童而告终。
Ryder ended up by gassing himself. Another play in the series, David Rudkin’s Afore Night Come, put on by the Royal Shakespeare Company, came to ‘a gruesomely compulsive climax involving a ritual murder beneath the poison-sprays of a pest-control helicopter’. A third, Fred Watson’s Infanticide in the House of Fred Ginger, ended in the gratuitous killing of a child.
这种前卫戏剧只是整个西方社会正在发生的更广泛、更深入的变革的一个小征兆，这种变革在英国尤为明显。这场道德和社会态度的革命反映了我在其他地方分析过的集体幻想状态，在 1963 年的非凡事件中达到了顶峰。这一年在英国以一种无休止的歇斯底里为特征，最明显的表现是围绕着与克里斯汀·基勒和曼迪·赖斯-戴维斯有关的所谓性丑闻的夜幻性幻想的爆发，以及围绕披头士四人作为历史上最迷人的泡沫中心的“梦想人物”的出现而产生的幻想影视圈。就其普遍的个人影响而言，这一年达到了顶峰：战后历史上最令人震惊的轰动事件是当时另一位至高无上的“梦想人物”肯尼迪总统被暗杀。这种歇斯底里的情绪将这部新的英国戏剧进一步推向了暴力、性痴迷和怪异的幻想世界，几个月后，皇家莎士比亚剧团上演了一个专门针对“残酷戏剧”的“实验季”。这本书的摘录作为其宣言 几个月后，皇家莎士比亚剧团举办了一个专门针对“残酷戏剧”的“实验季”。这本书的摘录作为其宣言 几个月后，皇家莎士比亚剧团举办了一个专门针对“残酷戏剧”的“实验季”。这本书的摘录作为其宣言法国精神病患者安东尼·阿尔托 (Antonin Artaud) 于 1938 年在疯人院里写下了《剧院与儿子双倍》(Le Theater et Son Double) ：
Such avant-garde plays were only a small symptom of a much wider and deeper transformation which was now taking place all through Western society, nowhere more obviously than in Britain. This revolution in moral and social attitudes, reflecting what I have analysed elsewhere as a collective fantasy state, came to a head in the extraordinary events of the year 1963. It was a year characterised in Britain by a kind of endless hysteria, most obviously expressed in the explosion of nyktomorphic fantasy surrounding the supposed sex scandals associated with Christine Keeler and Mandy Rice-Davies, and that generated around the emergence of the four Beatles as the ‘dream figures’ at the centre of the most hypnotically glamorous bubble in the history of show business. It was the year which culminated in what, in terms of its universal personal impact, was the most shockingly sensational event of post-war history, the assassination of that other supreme ‘dream figure’ of the time, President Kennedy. And this mood of hysteria helped drive the new English drama even further into its violent, sexually-obsessed and freakish fantasy world, as when a few months later the Royal Shakespeare Company staged an ‘experimental season’ dedicated to the ‘Theatre of Cruelty’. This took as its manifesto an excerpt from the book Le Theatre et Son Double, written in a lunatic asylum in 1938 by the French psychopath Antonin Artaud:
“我们需要一个能够唤醒我们的剧院，唤醒我们的神经和热情……在我们生活的痛苦的灾难性社会中，我们迫切需要一个事件不会超出的剧院……一种超越的生活体验是公众所需要的从根本上来说，是通过爱情、犯罪、毒品、战争或叛乱来寻求。”
‘We need a theatre which wakes us up, nerves and heat ... in the anguished catastrophic society we live in, we feel an urgent need for a theatre which events do not exceed ... a transcendent experience of life is what the public is fundamentally seeking, through love, crime, drugs, war or insurrection.’
选择作为本季开场的小剧包括阿尔托本人的草图，题为“血的喷涌”（其中“富有表现力地使用了颜色、光线和声音”）；在另一部影片中，代表克里斯汀·基勒的女演员站在浴缸旁边表演了“具有怪诞象征意义的脱衣舞表演”，旨在呼应杰奎琳·肯尼迪俯视着被谋杀的丈夫坟墓的形象。
The playlets chosen to open the season included a sketch by Artaud himself, entitled ‘The Spurt of Blood’ (in which ‘colour, light and sound are used expressively’); and another in which an actress representing Christine Keeler performed a ‘strip-tease act of grotesque symbolism’ standing next to a bath, in what was meant to echo the image of Jacqueline Kennedy looking down into her murdered husband’s grave.
但本季最轰动的作品是彼得·布鲁克（Peter Brook）制作的长片，他是该剧的两位联合导演之一，曾负责《血喷》的草图。彼得·韦斯的马拉/萨德影片展示了夏朗顿疯人院的疯狂囚犯们在狱友萨德侯爵的指挥下，重演了法国革命领袖马拉被暗杀的情景。这个以《贾斯汀》的作者为英雄的黄昏世界的噩梦般的景象，充满了暴力、疯狂、性侵犯和革命歇斯底里，引起了由代表商业剧院的各种经理人领导的轩然大波，他们对伦敦舞台如何被“肮脏的戏剧'。这引发了以左翼政治家迈克尔·福特为首的“进步派”同样歇斯底里的反应，他夸张地发布了一封电报：
But the biggest sensation of the season was a full-length production by Peter Brook, one of its two co-directors, who had been responsible for the ‘Spurt of Blood’ sketch. Peter Weiss’s Marat/Sade showed the crazed inmates of Charenton lunatic asylum re-enacting the assassination of the French revolutionary leader Marat, under the direction of their fellow inmate, the Marquis de Sade. This nightmare vision of a twilight world of violence, madness, sexual aggression and revolutionary hysteria, featuring the author of Justine as its hero, provoked uproar, led by various impresarios representing the commercial theatre, deploring how the London stage was being taken over by ‘filthy plays’. This set off an equally hysterical response from the ‘progressives’, led by the left-wing politician Michael Foot, who ostentatiously published a telegram:
“我可以看到，旧势力正在集结起来，阻止人们停止思考，但自从对索福克勒斯上演了同样可笑的把戏以来，它就失败了。”
‘I CAN SEE THERE IS A RALLY OF THE OLD FORCES TO STOP PEOPLE THINKING STOP BUT IT CAN’T BE DONE STOP IT HAS FAILED EVER SINCE THE SAME RIDICULOUS TRICK WAS PLAYED ON SOPHOCLES.’
一位主要的“进步”评论家佩内洛普·吉利亚特郑重地声称该剧“有勇气调查莎士比亚本人所描绘的那种暴力”。3
One leading ‘progressive’ critic Penelope Gilliatt solemnly claimed the play ‘had the nerve to investigate the sort of violence that Shakespeare himself depicted’.3
1964 年另一部引起轰动的戏剧是《娱乐斯隆先生》是一部由乔·奥顿 (Joe Orton) 创作的“黑色喜剧”，乔·奥顿是一位挑衅的同性恋者，最近因猥亵污损公共图书馆的书籍而入狱九个月。他的这部“喜剧”讲述了一位神秘的陌生人斯隆先生作为新房客来到一所房子里，住着一位 30 多岁的未婚女子、她的同性恋兄弟和他们的父亲。在第一幕中，斯隆被姐姐引诱。接下来他引诱了弟弟。父亲随后认出他就是他所看到的将一名色情作家踢死的人，斯隆随即将父亲踢死。随后，这名女子发现自己怀上了斯隆的身孕，斯隆明确表示，他认为没有什么比与一个女人终身捆绑更糟糕的命运了。故事以准妈妈吮吸煮糖结束，回归幼稚状态。三年后，在写了更多类似的戏剧之后，
Another theatrical sensation of 1964 was Entertaining Mr Sloane, a ‘black comedy’ written by Joe Orton, a defiant homosexual who had recently spent nine months in prison for obscenely defacing books from a public library. His ‘comedy’ showed a mysterious stranger, Mr Sloane, arriving as the new lodger in a house occupied by an unmarried woman in her 30s, her homosexual brother and their father. In the first act Sloane is seduced by the sister. In the next he seduces the brother. The father then identifies him as the man he had seen kicking a pornographer to death, at which Sloane kicks the father to death. The woman then discovers she is pregnant by Sloane, who makes it plain he can think of no fate worse than being tied for life to a woman. The story ends with the prospective mother sucking at a boiled sweet, in a regression to infantilism. Three years later, after writing more plays in similar vein, Orton himself was hacked to death with an axe by his homosexual lover, overcome by a fit of jealous rage.
1964 年，大西洋两岸的政府试图做出最后的努力，阻止性和暴力的浪潮，而现在，性和暴力的浪潮似乎席卷了各个方向的故事讲述。当伦敦和美国的出版商决定通过挖掘范妮·希尔（Fanny Hill）来利用时代的新自由时经过两个世纪的压抑，当局意识到，如果他们要说服法院区分“文学”和“色情作品”，那就应该这么做。当然，没有哪个英国文学的主教或教授会急于捍卫这本书，而没有人假装它只是一本厚颜无耻的“肮脏的书”？在伦敦，地方法官们短暂地被这一论点说服了，尽管他们的判决很快就被推翻了。在美国，此案实际上到达了最高法院，在 1965 年的一项历史性判决中，法官们承认范妮·希尔具有“文学价值”，不应再受到审查。
On both sides of the Atlantic in 1964 the state tried to mount a last-ditch effort to halt the tide of sex and violence which now seemed to be engulfing storytelling in all directions. When publishers in London and America decided to exploit the new freedom of the times by disinterring Fanny Hill from its two centuries of suppressed obscurity, the authorities realised that, if ever they were going to persuade the courts to distinguish between ‘literature’ and ‘pornography’, this was the case to go for. Surely no bishops or professors of English literature would rush to defend what no one had ever pretended was anything other than an unashamedly ‘dirty book’? In London the magistrates were briefly persuaded by this argument, although their verdict was soon reversed. In America the case actually reached the Supreme Court, where in a historic judgment in 1965 the justices accepted that Fanny Hill had ‘literary merit’ and should no longer be censored.
1964 年，小休伯特·塞尔比 (Hubert Selby Jr) 的《最后的布鲁克林出口》(Last Exit to Brooklyn)是一部更现代的小说，也曾短暂面临法律的反对。。这部影片以 20 世纪 50 年代初的一次罢工为背景，描绘了纽约贫民窟生活的黑暗景象，被人们兴奋地誉为“推回边境”的又一胜利突破。情节以哈利为中心，他是一名参与罢工的残暴工会积极分子，他开始与一名吸毒者欺骗妻子；乔吉特（Georgette），一名易装癖同性恋者；还有一个妓女特拉拉拉，她梦想着逃离绝望的日常生活，在停车场后面把自己的身体卖给男人。乔其纱最终被车碾死。罢工在一系列爆炸中达到高潮，罢工者放火焚烧了一批卡车，哈利在试图与附近的一名小男孩发生性关系时被抓获，并被一伙团伙踢死。将他的尸体挂在广告牌上，模仿耶稣受难。最后，
A more contemporary novel which also briefly faced legal disapproval in 1964 was Hubert Selby Jr’s Last Exit to Brooklyn. This was excitedly hailed as another triumphant breakthrough in ‘pushing back the frontiers’, with its unrelievedly black picture of New York slum-life set during a strike in the early 1950s. The plot centres on Harry, a brutal union activist involved in the strike, who begins cheating on his wife with a drug-addict; Georgette, a transvestite homosexual; and a prostitute Tralala, who dreams of escaping from her hopeless day-to-day existence selling her body to men at the back of parking lots. Georgette ends up being crushed to death by a car. Harry, after the strike has come to its climax in a series of explosions when the strikers set fire to a fleet of trucks, is caught attempting to have sex with a young boy from the neighbourhood, and is kicked to death by a gang, who hang up his corpse on a billboard in a parody of the Crucifixion. Finally, as the story’s climax, Tralala is subjected to a prolonged and violent gang-rape, before the story ends with the lifting of the strike and the men returning to work.
在英国，到 1965 年夏天，对性异常和虚构暴力的痴迷已经变得如此流行，以至于“大胆”的新英国戏剧，如詹姆斯·邦德电影，在提升伦敦“最摇摆的形象”方面发挥了重要作用。世界城市”。六月，为了避免张伯伦勋爵施加的审查制度的影响，皇家宫廷将自己变成了一个戏剧俱乐部，上演约翰·奥斯本的戏剧《我的爱国者》，其中的主要场景是一场奢华的同性恋“变装舞会”，主角是颓废的哈布斯堡王朝维也纳的一名同性恋间谍，最终自杀了。考文特花园皇家歌剧院夏季的核心作品是勋伯格的《摩西与亚伦》由皇家莎士比亚剧团的彼得·霍尔执导，以世界末日的狂欢场景为特色，并以被称为特别“坎普”的姿态，让四名裸体的苏荷脱衣舞娘扮演四位处女。在奥德维奇，哈罗德·品特的《归乡》描绘了一个男人向他的父亲和四个兄弟介绍他的新美国妻子，然后他们轮流与她发生性关系，并计划让她成为妓女。今年夏天的另一部时尚电影是罗曼·波尔桑基的《排斥》，描绘了一个年轻女孩沉迷于性和暴力的噩梦。十月，一位年轻作家赢得了英国新国家剧院的第一个委托（并且还为披头士乐队的新电影《Help!》编写剧本）。）发表了一篇严肃的文章，题为“我童年的戏剧生活和工作以及我如何沉迷于性和暴力”，其中包括“我的戏剧是关于肮脏的，肮脏的”等台词。剧院里有一个可以放脏东西的地方。我见过它，那是可爱的吊带背心污物。
In Britain the obsession with sexual abnormality and make-believe violence had become so fashionable by the summer of 1965 that the ‘daring’ new English drama, like the James Bond films, had played an important part in promoting London’s image as ‘the most swinging city in the world’. In June, to avoid the vestiges of censorship imposed by the Lord Chamberlain, the Royal Court turned itself into a theatre club to stage John Osborne’s play A Patriot for Me, the main set-piece of which was a lavish homosexual ‘drag’ ball, before the protagonist, a homosexual spy in decadent Hapsburg Vienna, ends up committing suicide. Centrepiece of the summer season at the Royal Opera House, Covent Garden, was Schoenberg’s Moses and Aaron, directed by Peter Hall of the Royal Shakespeare Company, featuring an apocalyptic orgy scene and, in what was described as a particularly ‘camp’ gesture, the casting of four nude Soho strippers as the Four Virgins. At the Aldwych Harold Pinter’s The Homecoming portrayed a man presenting his new American wife to his father and four brothers, whereupon they take it in turns to have sex with her and plan to set her up as a prostitute. Another vogue film of the summer was Roman Polsanki’s Repulsion, depicting a young girl’s sex and violence obsessed nightmares. In October a young writer who had won the first commission from Britain’s new National Theatre (and also scripted the new Beatles film Help!) published a solemn article entitled ‘My boyhood life and work in the theatre and how I came to be obsessed with sex and violence’, including such lines as ‘my plays are about filth, filthily. There is a place for filth in the theatre. I’ve seen it, and lovely cami-knick filth it was.’
1965 年秋天，正当这种时尚的紧张狂潮达到顶峰时，正如第一条迷你裙的出现在 11 月第一周爆发的歇斯底里一样，另外两部新剧引起了最大的轰动。第一个是 BBC 的《Up The Junction》 ，因为它是在电视上播出的，表面上是一部真实的电影，描绘了伦敦南部工人阶级的生活，重点讲述了一名少女在炸弹现场的诱惑，以及她随后可怕的后街堕胎事件。 。就连一位通常热衷于 BBC 播出“大胆”电视剧的评论家也评论道：
In the autumn of 1965, just when this fashionable nervous frenzy was reaching a peak, as in the hysteria which exploded in the first week of November over the appearance of the first mini-skirts, two more new plays aroused the greatest sensations of all. The first, because it was on television, was the BBC’s Up The Junction, an ostensibly ciné-vérité picture of life in working class south London, focusing on the seduction of a teenage girl on a bombsite, and her subsequent horrific back-street abortion. Even a critic normally keen for the BBC to show ‘daring’ dramas commented:
“我认为这个目标至少有一部分......是一种愿望，也许是无意识的，想看看他们在一部充满性和脏话的电视剧中能走多远。”
‘I suggest that at least part of the object ... was a wish, perhaps an unconscious one, to see just how far they could go in a television play with sex and cuss words.’
另一部戏剧于同晚（11 月 3 日）首演，表面上也是伦敦南部工人阶级生活的写照；再次，为了上演它，皇家宫廷不得不把自己变成一个俱乐部。爱德华·邦德 (Edward Bond) 的《得救》 (Saved ) 开头是一对年轻夫妇进入女孩帕姆 (Pam) 的家，帕姆是出了名的 23 岁女孩，与父母住在一起。莱恩刚刚抱起她，但很笨拙地未能与她发生性关系。但随后我们看到他成为了她的男朋友，并作为她父母的房客搬进来。
The other play, first performed on the same evening (November 3), was also ostensibly a picture of working-class life in south London; and again, to stage it, the Royal Court had to turn itself into a club. Edward Bond’s Saved began with a young couple entering the home where the girl, Pam, a notoriously promiscuous 23-year old, lives with her parents. Len has just picked her up and rather clumsily fails to have sex with her. But we then see him having become her boyfriend and moved in as her parents’ lodger.
现在，我们在一家咖啡馆遇到了一群年轻人，其中一个叫皮特，即将参加一个被碾过的男孩的葬礼。在讲完粗俗的性笑话后，皮特吹嘘自己对这起事故负有责任。看到男孩跑到马路上，他故意加速自己的车辆撞向男孩，将男孩撞到迎面驶来的卡车上。他没有向男孩的父母或学校承认这一点。验尸官，然后我们看到，虽然莱恩仍然住在她父母的家里，但帕姆现在已经搬到了另一个男朋友弗雷德，并且生了孩子（父亲不详，尽管她认为可能是弗雷德）。在整个场景中，婴儿在台下可怜兮兮地哭着，而母亲却没有注意到。
We now meet, in a café, a gang of young men, one of whom, Pete, is about to attend the funeral of a boy who has been run over. After crude sex jokes, Pete boasts of how he had been responsible for the accident. Seeing the boy run out into the road, he deliberately accelerated his own vehicle to hit the boy, knocking him into the path of an oncoming truck. He did not admit this to the boy’s parents or the coroner, We then see that, although Len is still living in her parents’ home, Pam has now moved on to another boyfriend, Fred, having had a baby (father unknown, although she thinks it is probably Fred). The baby, throughout the scene, cries pitifully offstage while its mother takes no notice.
然后我们看到弗雷德和莱恩在当地的一个公园钓鱼。帕姆推着婴儿车进来，在争吵后走开了，莱恩也跟着走了，抛弃了她的孩子。这引出了该剧的中心情节，当时我们之前见过的一帮年轻人，包括皮特，和弗雷德一起在公园里，看到婴儿车，开始互相推搡，更加粗鲁。然后他们开始对婴儿产生兴趣。一个人给了它一拳，接着又一个人打得更用力。他们用排泄物摩擦它的脸。他们向它扔点燃的火柴。最后，一个年轻人向婴儿车里扔了一块石头。其他人也纷纷效仿，更加疯狂，直到婴儿死掉。帕姆回来推着婴儿车回家，没有注意到发生了什么事。
We then see Fred and Len fishing in a local park. Pam enters, wheeling a pram, and, after getting into an argument, walks off, followed by Len, abandoning her baby. This leads to the central episode of the play, when the gang of youths we have met earlier, including Pete, join Fred in the park, see the pram and begin pushing it at each other, ever more roughly. They then start to take an interest in the baby. One gives it a punch, followed by another, punching rather harder. They rub its face in its excreta. They flick lighted matches at it. Finally one youth chucks a stone into the pram. The others follow suit, in ever greater frenzy, until the baby is dead. Pam returns to wheel the pram home, not noticing what has happened.
我们从未被告知帕姆是如何发现她的孩子死了的，尽管我们看到弗雷德等待与其他人一起受审，并得知莱恩目睹了隐藏在树下的谋杀案，并且没有介入阻止。然后我们看到一个场景，帕姆的中年母亲与朋友见面迟到了，却发现她的一只袜子被撕破了。莱恩帮忙把它缝在她的大腿上，这种亲密感让他非常兴奋，当她出去后，他掏出一块手帕来自慰。然后我们在咖啡馆看到另一个场景，帕姆和其他人正在等待帮派成员从似乎只是短暂的监禁中释放。高潮是帕姆家中一场尖叫的家庭争吵，涉及她自己、她的父母和莱恩，其中，当莱恩用刀威胁她的父亲哈利时，帕姆绝望地哀号“我所有的朋友都走了”。宝贝不见了。除了争吵什么都没有剩下……孩子死了。他们都走了……我无法继续下去了。随后哈利来到莱恩的房间。他们进行着一些琐碎的闲聊，似乎在暗示他们已经和解了分歧。莱恩想，他可能会找到其他地方住。
We are never told how Pam discovered her baby was dead, although we see Fred waiting to be tried with the others for the killing, and learn that Len had watched the murder hidden by trees and not intervened to stop it. We then see a scene in which Pam’s middle-aged mother is late for a meeting with a friend, but discovers one of her stockings is torn. Len helps to sew it together on her thigh and is so excited by this intimacy that, when she has gone out, he pulls out a handkerchief to masturbate. We then see another scene in the café, where Pam and others are waiting for the gang-members on their release from what seems to have been only a very brief spell of imprisonment. The climax comes with a screaming family row in Pam’s home, involving herself, her parents and Len, in which, as Len threatens her father Harry with a knife, Pam despairingly wails ‘all my friends gone. Baby’s gone. Nothing left but rows ... the baby’s dead. They’re all gone ... I can’t go on.’ Afterwards Harry comes up to Len’s room. They engage in trivial chat, as if to imply that they have made up their disagreement. Len muses that he may find somewhere else to live.
就连《观察家报》的主要“进步”评论家佩内洛普·吉利亚特也承认，她发现这一切难以忍受：
Even Penelope Gilliatt, a leading ‘progressive’ critic with the Observer, admitted she had found all this hard to stomach:
“第一幕的大部分时间里，我都因幽闭恐惧症而颤抖，并以为自己要生病了。婴儿车里的婴儿被扔死的场景令人作呕。性笑话的狂妄程度几乎更糟……”
‘I spent a lot of the first act shaking with claustrophobia, and thinking I was going to be sick. The scene where a baby is pelted to death in a pram is nauseating. The swagger of the sex jokes is almost worse....’
作为回应，英国著名演员、现任国家剧院院长劳伦斯·奥利维尔爵士急忙为该剧辩护，声称邦德“将暴力行为放在了戏剧的前半部分，就像莎士比亚在《凯撒大帝》中所做的那样。”'。没有比这更清楚的衡量标准来衡量讲故事的心灵根源现在已经失去了多少联系。首先，奥利维尔不再认为，作为纯粹的“暴力行为”，刺杀所谓的暴君（在首席刺客与他的良心进行搏斗之后）和无意识地毁灭婴儿之间可能有任何区别。一群年轻的暴徒，士气低落，几乎不知道自己做了什么。其次，奥利维尔似乎没有注意到这样一个事实：在凯撒被谋杀后，莎士比亚在他的戏剧的其余部分中致力于展示如何根据原型，必须有一种平衡的“暴力行为”，让凶手付出自己的死亡代价。
In reply, Britain’s leading actor Sir Laurence Olivier, now director of the National Theatre, rushed to defend the play, with the claim that Bond ‘places his act of violence in the first half of the play, just as Shakespeare does in Julius Caesar’. There could have been no clearer measure of just how far contact had now been lost with the psychic roots of storytelling. Firstly Olivier could no longer see that, as a mere ‘act of violence’, there might be any distinction between the assassination of a supposed Tyrant (after the chief assassin has been shown wrestling with his conscience) and the mindless destruction of a baby by a group of young thugs, so demoralised they are scarcely aware of what they have done. Secondly Olivier seemed oblivious to the fact that, after Caesar’s murder, Shakespeare devoted the rest of his play to showing how, in accordance with the archetype, there has to be a counterbalancing ‘act of violence’, whereby the murderers pay the price with their own deaths.
从典型的角度来看，邦德的这部戏最令人毛骨悚然的是，在婴儿被谋杀之后，以如此令人着迷的细节描绘，除了对他们草率的监禁之外，对肇事者的遭遇几乎没有兴趣。邦德自己对他的表演的评论是“几乎是不负责任的乐观”。莱恩作为其“主角”，“天生善良”。邦德写道，通过最终创造“与父亲建立友谊的机会”，莱恩将“戏剧中悲剧性的俄狄浦斯模式”变成了“正式的喜剧”。4确实，在讲故事史上的这一里程碑中，“黑暗反转”已经完成。
Nothing, archetypally, was more chilling about Bond’s play than the fact that, after the baby’s murder, portrayed in such obsessional detail, so little interest is shown in what happens to its perpetrators, apart from their perfunctory prison sentence. Bond’s own comment on his play was that it was ‘almost irresponsibly optimistic’. Len, as its ‘chief character’, is ‘naturally good’. By creating in the end ‘the chance of a friendship with the father’, Bond wrote, Len turns what might have been ‘the tragic Oedipus pattern of the play’ into ‘what is formally a comedy’.4 Truly, in this landmark in the history of storytelling, was the ‘dark inversion’ complete.
幻想的局限性
The limitations of fantasy
短短五年，伟大的“解放”就完成了。尼亚加拉被枪杀了。现在看来，一切皆有可能。但当我们审视这一巨大飞跃实际带来的结果时，我们会发现，故事讲述现在已经进入了美丽的新世界，但最引人注目的莫过于它的范围是多么有限。当讲故事进入这个领域时，正如我们在本章中所看到的，某些主题不断地重新出现：性行为；裸露; 少量与身体功能有关的四字母词，无论是性功能还是排泄功能；手淫；同性恋；性变态；疯狂; 吸毒；残忍和暴力行为；强奸; 同类相食；最后暴力谋杀或自杀。
In just five short years the great act of ‘liberation’ had been achieved. Niagara has been shot. Anything, it might have seemed, was now possible. But when we look at what this great leap forward actually led to, nothing is more striking about the brave new world storytelling had now entered than how remarkably limited in scope it turned out to be. When storytelling moves into this realm, as we have seen in this chapter, certain themes continually reappear: the sexual act; nudity; a small number of four-letter words, relating to bodily functions, either sexual or excretory; masturbation; homosexuality; sexual perversions; madness; drug-taking; acts of cruelty and violence; rape; cannibalism; finally violent murder or suicide. Why is it just to this very restricted range of images (often combined with the violation of religious symbols) that stories based on fantasy invariably return?
答案的出发点在于讲故事中最核心的神圣人物的本质，即原型女主人公，阿尼玛，英雄必须赢得的终极奖品。作为女性的化身，她潜在地代表了异性对男性所能代表的一切。当然，这可能始于她外表上的吸引力。但她在故事中的角色的本质是代表那些“轻柔的女性”价值观，感受他人并看到整体，这对于摆脱自我的限制并与自我建立联盟至关重要。达到讲故事终极目标的英雄，才是值得赢得她的人，因为他代表“光明男性”，所以他既坚强又充满爱心。同样，轻盈的女主角外表柔美，内心坚强。这就是为什么故事结尾男女主角相爱结合的景象如此有力量让我们感动，因为我们无意识地认识到这种互补性在各个层面上的结合是自我实现和人类彻底实现的形象。
The starting point for an answer lies in the nature of that most centrally numinous figure in storytelling, the archetypal heroine, the anima, the ultimate prize the hero has to win. As an embodiment of the feminine she potentially stands for everything the opposite sex can represent to a man. Certainly this may begin with the fact that she is physically attractive. But the essence of her role in stories is to represent those ‘light feminine’ values, feeling for others and seeing whole, which are crucial to escaping from the confines of the ego and to establishing union with the Self. The hero who reaches the ultimate goal in storytelling is he who is worthy to win her, because he represents the ‘light masculine’, he is both strong and loving. Similarly the light heroine is outwardly feminine and inwardly strong. That is why the sight of a hero and heroine united in love at the end of a story has such power to move us, because unconsciously we recognise this complementary coming together on every level as the image of Self-realisation, complete human fulfilment.
一旦故事变得只以自我为中心，这种整体性就对他们关闭了。超越自我的女性价值观已经消失。当幻想与爱的无私成分失去联系时，剩下的就是将男女之间的关系降低到肉体层面。最初我们可能会得到像范妮·希尔和查泰莱夫人这样的故事它们以不同的方式通过愿望实现的眼睛来展示这一点。它们以性行为的形象为中心，性行为总是以机械完美的方式发挥作用，以达到双方的相互满足（在詹姆斯·邦德电影中，尽管不太明确，也是如此）。但就构建一个故事而言，到了某个阶段，仅仅幻想两个人的结合就会开始感到厌倦。因为它已经脱离了讲故事的更深层次的无意识目的，所以它哪儿也去不了。
Once stories become centred on nothing higher than the ego, this totality is shut off to them. The ego-transcending feminine values have gone missing. And when fantasy loses touch with the selfless components of love, all that is left to it is to reduce the relationship between men and women to just a physical level. Initially we may get stories like Fanny Hill and Lady Chatterley which, in their very different ways, show this through the eyes of wish-fulfilment. They are centred on the image of the sexual act, which invariably works with mechanical perfection to the mutual gratification of both parties (as it also does, if less explicitly, in, say, a James Bond film). But in terms of constructing a story, there comes a point where simply to fantasise about the coupling of two people begins to tire. Because it has been cut off from the deeper unconscious purposes of storytelling, it cannot go anywhere.
当女性的实际视觉形象可以用来触发男性的性欲时，例如在舞台或电影屏幕上，似乎更容易维持兴奋感。男人本能地会对这种刺激做出反应，但最终的反应方式是相当客观的。这就是为什么在人类历史的大部分时间里，女性的着装方式都暴露了她们的脸，即她们最能完全表达个性的部分，但却隐藏了她们身体的大部分。一旦自我占据主导地位，就会产生压力，迫使他们暴露越来越多的身体，以刺激身体欲望。电影院到来后的很长一段时间里，除了在特殊情况下允许女演员露出双腿或乳沟外，绅士风度或多或少地被保留下来，比如在舞蹈或海滩场景中，或者他们扮演明显的放荡、不道德的角色。但当20世纪50年代末和1960年代初跨越了这个巨大的心理分水岭时，这不可避免地导致了一种将女性身体的展示推向越来越接近脱衣状态的冲动：先是内衣，然后是半裸的乳房，然后是全长裸体。虽然，就像脱衣舞表演一样，在这个过程处于早期阶段时，可能很容易维持一种兴奋感和期待感，但最终一定会到达一个点，所有的一切都被揭露出来。无处可去。这不可避免地导致女性身体的展示越来越接近脱衣状态：首先是内衣，然后是半裸的乳房，然后是全身裸体。虽然，就像脱衣舞表演一样，在这个过程处于早期阶段时，可能很容易维持一种兴奋感和期待感，但最终一定会到达一个点，所有的一切都被揭露出来。无处可去。这不可避免地导致女性身体的展示越来越接近脱衣状态：首先是内衣，然后是半裸的乳房，然后是全身裸体。虽然，就像脱衣舞表演一样，在这个过程处于早期阶段时，可能很容易维持一种兴奋感和期待感，但最终一定会到达一个点，所有的一切都被揭露出来。无处可去。
It may seem easier to sustain the sense of excitement where the actual visual image of the feminine can be used to trigger off male sexual desire, as on a stage or a cinema screen. Men are instinctively programmed to respond to such stimuli, in a way which is ultimately quite impersonal. This is why, through most of human history, women have dressed in such a way as to reveal their faces, that part of them which most completely expresses their individuality, but to conceal the greater part of their bodies from view. Once ego becomes dominant, this creates a pressure for them to reveal more and more of their bodies, to provide stimulus to physical desire. For a long time after the arrival of the cinema, the gentilities were more or less preserved, except in those special circumstances where actresses were permitted to show their legs or cleavage, as in dance or beach sequences, or where they were playing recognisably louche, immoral characters. But when the great psychological watershed was passed in the late 1950s and early 1960s, this inevitably resulted in a compulsion to push display of the female body nearer and nearer to a state of undress: first to underwear, then to half-glimpsed bare breasts, then to full-length nudity. And although, as with a strip-tease act, it may be easy to sustain a sense of arousal and expectation while this process is in its earlier stages, there must eventually come a point where literally all has been revealed. There is nowhere further to go.
那么，当自我被剥夺了通往适当实现的唯一道路时，它会转向哪里呢？本质上，正如我们所见，它找到了三种表达形式。首先，当自我与另一个人失去任何适当的爱的联系时，正如我们在《尤利西斯》和《拯救》的例子中看到的那样，身体的冲动可能会退回到孤独的手淫性行为中。5其次，正如我们所见在 20 世纪 60 年代许多戏剧和小说中变得突出的“坎普”元素中，它对性别原型角色的变化、同性恋和易装癖越来越着迷：在失去男子气概而变得女性化的男性中，在女性中，女性变得更加女性化。她们失去了女性气质，并被内在的男性气质所占据。最后，最明显的是，因成就受挫的自我在绝望中转向暴力。
So when the ego is denied the only road which can lead to proper fulfilment, where does it then turn? Essentially, as we have seen, it finds three forms of expression. First, when the ego is shut off from any proper loving connection with another person, as we saw in examples from Ulysses to Saved, the physical urge may simply retreat into the solitary sex of masturbation.5 Second, as we saw in that ‘camp’ element which became prominent in so many plays and novels of the 1960s, it finds increasing fascination in variations on the archetypal roles of the sexes, in homosexuality and transvestism: in men who have lost their masculinity and become effeminate, women who have lost their femininity and become possessed by their inner masculine. Finally, most conspicuously of all, the ego frustrated of fulfilment turns in desperation towards violence.
当然，自古以来，身体暴力行为就在故事讲述中发挥着重要作用。但当在原型框架内表现时，暴力的实施总是受到明确的规则的约束。如果一个黑暗人物实施了暴力行为，原型就表明最终一定会有报应。最终，这个怪物就像麦克白一样，必须永远为他的罪行付出代价。当光明人物诉诸暴力时，这是可以接受的，因为人们总是清楚地表明，他们这样做是出于无私的原因，是为了他人。即使故事第一次冒险进入奇幻层面，采取“感伤”的形式，这些相同的规则仍然有效。詹姆斯·邦德电影中的暴力场景实际上可能只是为了它们的轰动价值，让观众兴奋。
Of course, acts of physical violence have played a prominent part in storytelling since the dawn of time. But when it is shown within the archetypal framework, the exercise of violence is always subject to clear rules. If a dark figure is shown committing a violent act, the archetype dictates that there must always ultimately be a recompense. In the end, the monster, like Macbeth, must always be paid out for his crimes. When light figures resort to violence this is acceptable, because it is always made clear that they are doing so for selfless reasons, on behalf of others. Even when stories first venture onto the fantasy level, taking on a ‘sentimental’ form, these same rules still hold good. The scenes of violence in a James Bond film may in reality only be included for their sensation value, to excite the audience. But they are still sanctioned in the audience’s mind by the fact that Bond is a ‘light figure’, selflessly risking his life to challenge some monstrous dark figure, the ‘good guy’ acting to save the world from a megalomaniac super-criminal.
当故事进一步进入幻想，完全失去其潜在的原型目的时，“光明”与“黑暗”之间的对立就会消失。故事中的每个人都处于黄昏之中。我们可能会看到男人互相施暴，因为他们显然是残忍、恶毒和黑暗的。但由于没有“轻”人物来反对他们，这种暴力行为本身就变成了耸人听闻的图像，旨在激起观众的恐惧或厌恶。
What happens when stories move still further into fantasy, losing contact with their underlying archetypal purpose altogether, is that this opposition between ‘light’ and ‘dark’ disappears. Everyone in the story is seen in a twilight. We may see men inflicting violence on each other because they are obviously cruel, vicious and dark. But since there are no ‘light’ characters to oppose them, such acts of violence become just sensational images for their own sake, designed to excite the audience’s horror or disgust.
然而，当暴力与性冲动纠缠在一起，并且被证明是针对女性时，这个过程变得更加明显极端。到这里，我们终于清楚地认识到，这个过程的真正无意识驱动力是把原型颠倒过来，以展示象征着故事讲述中最高价值的人物，即阿尼玛（以及自我），在最严重的情况下受到侵犯。令人震惊的方式可能。德萨德关于贾斯汀的故事的价值在于它如此明确地说明了这一点。因为在他写作的时代，故事中的女主角仍然普遍被描绘成充满象征意义的阿尼玛——装扮成光辉灿烂、天真无邪的美德灵魂，仅仅为了表现她屡次被侵犯而塑造出这样一个女主角，也是为了让故事具有最大的震撼力。正是由于这个原因，在近两个世纪的时间里，萨德的书被认为明显冒犯了道德观念，以至于一直被人们忽视。直到社会发生了如此大的变化，以至于讲故事的主流已经准备好开始追赶他。
Where this process becomes even more obviously extreme, however, is when violence becomes entangled with the sexual urge, and is shown being directed against a woman. This is where it at last becomes clear that the real unconscious drive of the process is to turn the archetype upside down, to show the figure who symbolises the highest value in storytelling, the anima (and thus the Self), being violated in the most shocking way possible. The value of de Sade’s story about Justine is that it illustrates this point so explicitly. Because he was writing in an age when heroines in stories were still generally depicted in their full symbolic anima-guise as shining, innocent souls of virtue, to conjure up such a heroine solely in order to show her being repeatedly violated was calculated to give his story the maximum shock-value. It was precisely for this reason that, for nearly two centuries, de Sade’s book was regarded as so obviously offensive to the moral sense that it remained buried from view; until society had so changed that the mainstream of storytelling was ready, as it were, to start catching up with him.
1960 年， 《查泰莱夫人的情人》的审判几乎与《惊魂记》的上映同时发生，特别是一名裸体的年轻女子连续几分钟被冷刺致死的场景。希区柯克笔下的女主人公并不像贾斯汀那样“有美德的灵魂”。但她依然在她的脆弱，象征着“永恒的女性”。就像贾斯汀和德萨德时代以来无数其他“受迫害的女英雄”一样，马里昂代表了手无寸铁的阿尼玛被侵犯。希区柯克所展现的方式，着迷地徘徊在她被毁灭的物理细节上，他实现了世界上许多伟大故事的原型高潮的完全颠倒，在这些故事中，英雄在关键时刻赶来拯救就是这样一个手无寸铁的女英雄免遭毁灭。与讲故事中的任何其他形象相比，这种形象更能给我们一种深刻的解脱感和安心感，毕竟一切都会如其应有的那样发展。事实上，希区柯克的电影能够如此令人津津乐道地颠倒这一形象，这预示着暮光世界的故事讲述现在正在开始进入。
It was apt that the trial of Lady Chatterley’s Lover in 1960 should have coincided almost exactly with the release of Psycho, and in particular the scene of a naked young woman being coldly stabbed to death for minutes on end. Hitchcock’s heroine was scarcely ‘a soul of virtue’ in the same way as Justine. But she still, in her vulnerability, symbolised the ‘eternal feminine’. Like Justine and countless other ‘persecuted heroines’ since de Sade’s time, Marion represented the defenceless anima being violated. And in the way Hitchcock showed it, lingering obsessively over the physical detail of her destruction, he achieved the complete inversion of that archetypal climax to so many of the great stories of the world where, in the nick of time, the hero arrives to save just such a defenceless heroine from destruction. Such is the image which more than any other in storytelling gives us that profound sense of relief and reassurance, that everything is going to turn out, after all, as it should. The fact that Hitchock’s film could take such relish in turning that image upside down was a foretaste of what a twilight world storytelling was now beginning to enter.
接下来的几年里，随着对感觉的无意识追求越来越强烈，我们看到裸体不可避免地变得越来越厚颜无耻，暴力也越来越极端。到了《最后的布鲁克林出口》时，已经堕落的女主角被一个男人强奸一次已经不够了。这一定是一场持续不断的大规模强奸。我们看到故事越来越陷入一个奇怪的、梦幻/噩梦般的碎片化图像领域，通常甚至没有试图发展任何适当的情节感。6我们看到所有定义“现实”和“正常”的框架都瓦解成梦幻般的暮光，故事讲述者的幻想被完全一致的内部逻辑所吸引，去探索任何“不真实”或“异常”的事物。我们看到性别之间的差异消失在一种史诗般的模糊之中。最重要的是，所有这些看似自由的幻想都在无意识地被一种冲动所驱动：反抗自我的规则和价值观，并将这种反抗进一步推向其最终极限。但实际上，这个过程进入想象的自由领域越远，留给它玩的图像和情境的范围就变得越来越有限、重复和乏味。直到 1965 年，这才以最令人生畏的方式结束，他们所有人的自暴自弃的形象，一个手无寸铁的婴儿，一个典型的孩子，一个生命更新的至高形象，被四个年轻人随意处死，陷入了无意识，他们甚至不知道自己做了什么。此时，即使是一些最坚定的新“自由”拥护者也感到他们再也无法忍受了。
Over the next few years, as the unconscious pursuit of sensation became ever more intense, we saw the nudity inevitably becoming ever more brazen, the violence ever more extreme. By the time of Last Exit to Brooklyn, it was no longer enough for the already degraded heroine to be raped once, by one man. It had to be a mass-rape, going on and on. We saw stories drifting ever more into a strange, dream/nightmare realm of fragmented imagery, often not even attempting to develop any proper sense of plot.6 We saw all the framework which defines ‘reality’ and ‘normality’ disintegrating into a dreamlike twilight where the fantasies of storytellers were drawn, by an entirely consistent internal logic, to explore literally anything that was ‘unreal’ or ‘abnormal’. We saw the difference between the sexes dissolving into a kind of epicene blur. And what above all governed all this seemingly free-play of fantasy was that it was unconsciously driven by only one urge: to defy the rules and values of the Self, and to push that defiance ever further towards its ultimate limits. But, in reality, the further the process travelled into those realms of imagined freedom, so the range of images and situations left for it to play with became ever more limited, repetitive and sterile. Until in 1965 this ended up with the most life-defying, Self-defying image of them all, that of a defenceless baby, the archetypal Child, the supreme image of life renewed, being put casually to death by four young men, so lost in unconsciousness they were not even aware of what they had done. At this point even some of the most determined champions of the new ‘freedom’ had a sense that they could take no more.
进入勇敢的新世界
Into the brave new world
一旦过了这个心理分水岭，它对讲故事的影响就不可避免地是深远的。20 世纪 50 年代末到 60 年代中期的几年里，道德、社会和艺术态度所发生的转变，反映了自我与自我之间关系的进一步决定性转变，这种转变将以多种不同的方式在故事中得到表达。但在接下来的几十年里，最能体现电影、戏剧和小说特征的莫过于以自我为中心的性和暴力形象已经成为景观中既定的一部分，这是迄今为止难以想象的。
Once that psychological watershed had been passed, its consequences for storytelling were inevitably profound. The transformation which had taken place in moral, social and artistic attitudes in those few years between the late 1950s and the mid-1960s reflected a further decisive shift in the relationship between ego and Self which would find expression in stories in many different ways. But nothing was more obviously to characterise the films, plays and novels of the decades which followed than the hitherto unthinkable degree to which the imagery of ego-centred sex and violence had now become an established part of the landscape.
某些故事仍然会成为里程碑，因为他们设法在基本公式的基础上提出一些特别“令人震惊”的新变体。《邦妮与克莱德》（Bonnie and Clyde，1967）美化了两个年轻罪犯在逃中的生活，引起了人们的关注，尤其是因为影片开头短暂地瞥见了女主人公赤身裸体站在窗前，而结尾则用更长的镜头展示了她和克莱德的故事。英雄被机枪子弹打得遍体鳞伤，身体因冲击而跳跃，皮肉和衣服都被鲜血浸透。
Certain stories would still stand out as landmarks because they managed to come up with some specially ‘shocking’ new variation on the basic formula. Bonnie and Clyde (1967), glamourising the life of two young criminals on the run, caught attention not least because of its brief glimpse at the beginning of the heroine standing naked at a window and the much longer sequence at the end showing both her and the hero being riddled with machine gun bullets, their bodies jumping about with the impact as their flesh and clothes became soaked in blood.
四年后斯坦利·库布里克的《发条橙》（1971）根据安东尼·伯吉斯的小说改编，塑造了一个痴迷于性和暴力的年轻人的迷人形象，以至于这部电影引发了现实生活中一系列模仿犯罪的事件，促使惊慌失措的导演在一年后将其撤回发行发布后。故事以“不久的未来”的英国为背景，故事开始于英雄亚历克斯和他的三名青少年，穿着强调性器官的制服，坐在酒吧里，酒吧里摆着玻璃纤维的裸体女人，摆出顺从的姿势，喝着迷药。奶昔从更多裸体女性形象的乳头中流出，并为她们最喜欢的娱乐之夜做准备，“一点古老的极端暴力”和“一点古老的进出进出”（强奸）。他们先殴打一个老流浪汉，然后进入一个被遗弃的人，废弃的歌剧院里，一名年轻女子被另一个团伙的成员强奸，他们与该团伙进行了一场风格化的刀战。在警察的拦截下，他们偷了一辆跑车，开进黑暗的乡村，敲开了一座超现代房子的门，里面住着一位年长的作家和他年轻的妻子。他们戴着奇形怪状、淫秽的面具，将老人推倒在地，随着《雨中曲》的歌词有节奏地踢他，然后将两名受害者绑起来，破坏房屋，最后强迫丈夫观看长时间的强奸过程。他的妻子。
Four years later Stanley Kubrick’s A Clockwork Orange (1971), based on a novel by Anthony Burgess, conjured up so glamorous an image of young men obsessed with sex and violence that the film inspired a rash of imitative crimes in real life, prompting its shaken director to withdraw it from circulation a year after its release. Set in a Britain of ‘the near future’, the story opens with the hero Alex and his gang of three teenagers, wearing uniforms which emphasise their sexual organs, sitting in a bar furnished with fibreglass figures of naked women in submissive poses, drinking drugged milk shakes served from the nipples of more naked female figures and preparing for an evening of their favourite entertainment, ‘a bit of the old ultra-violence’ and ‘a bit of the old in-out, in-out’ (rape). They first beat up an old tramp, then enter a derelict, abandoned opera house where a young woman is being raped by the members of another gang, with whom they have a stylised knife-fight. Interrupted by the police, they steal a sports car, drive out into the dark countryside and knock on the door of an ultra-modern house where an elderly writer lives with his younger wife. In grotesque, obscene masks, they push the old man to the floor, rhythmically kicking him to the lyric of ‘Singin’ In The Rain’, then tie up both their victims, vandalise the house and finally force the husband to watch the prolonged rape of his wife.
当亚历克斯最终回到他与困惑的父母住在一起的令人沮丧的塔楼议会公寓时，我们看到了他的致幻梦，其中一个梦显示四个被钉在十字架上、流着血的耶稣人物跳踢踏舞，另一个梦则显示男人斜视着一个女人当她被绞死时，一件白色连衣裙从活板门掉下来。亚历克斯的中年男性社会工作者拜访了他，警告他有被警察逮捕的风险，然后试图将亚历克斯拉入同性恋行为。为了在侵犯自我价值观方面产生进一步的颤抖，影片中更恐怖的场景都伴随着古典音乐，尤其是贝多芬第九交响曲的“欢乐颂”最后乐章，这被难以置信地描述为让亚历克斯兴奋不已。他抱起了两个小性感少女，他们回到他的房间，炫耀他的高保真音响系统，并在威廉泰尔序曲的声音中与他们进行疯狂的性狂欢。亚历克斯的团伙因为他没有为他们组织足够有利可图的抢劫而变得焦躁不安，因此他带领他们抢劫了一个健康农场，该农场由一位富有的女人经营，周围环绕着巨大的色情艺术品。看到他们来了，她报了警，但当这群人进来时，亚历克斯用一个巨大的雕刻阳具将她打死。警车抵达，当这伙人逃跑时，其中一人故意用瓶子打亚历克斯的脸，结果他被警察抓住。
When Alex finally returns home to the dismal tower-block council flat where he lives with his bemused parents, we are treated to his hallucinogenic dreams, including one showing four crucified and bleeding Jesus-figures tap-dancing, another showing men leering at a woman in a white dress dropping through a trapdoor as she is hanged. Alex is visited by his middle-aged male social worker who warns him he risks being arrested by the police, before trying to pull Alex into a homosexual act. To produce a further frisson in violating the values of the Self, the film’s more lurid scenes are accompanied by classical music, particularly the ‘Ode To Joy’ final movement of Beethoven’s Ninth, which is implausibly described as exciting Alex like nothing else. He picks up two little teenage nymphets, takes them back to his room to show off his hi-fi system and engages with them in a frenzied sexual orgy, to the sound of the William Tell overture. Alex’s gang are getting restive that he does not organise sufficiently lucrative robberies for them, so he leads them off to rob a health farm, run by a rich woman surrounded by gigantic works of pornographic art. Having seen them coming, she rings the police, but when the gang enters Alex bludgeons her to death with a giant sculpted phallus. Police cars arrive and, as the gang flee, one of them deliberately hits Alex in the face with a bottle so that he is caught by the police.
影片的后半部分展示了亚历克斯在监狱中的情景，他被选为测试实验性新康复技术的理想对象。这是一种以药物为基础的厌恶疗法，它为展示更多极端暴力的拍摄图像提供了借口，其中包括不可避免的轮奸；这个想法是，每当亚历克斯受到诱惑进行性行为和暴力时，药物就会导致他厌恶地呕吐。当纳粹暴力的新闻片镜头伴随着贝多芬的《第九交响曲》时，这也在不经意间引发了他对自己喜爱的音乐的恐惧。最后，当他似乎被“治愈”时，他作为一种被洗脑的僵尸（“发条橙”）回到社会，在那里他遭受了先前受害者的一系列殴打和羞辱。其中包括现在瘫痪的老作家，
The second half of the film shows Alex in prison, where he is chosen as an ideal subject to test an experimental new rehabilitation technique. This is a drug-based form of aversion therapy which provides an excuse to show yet more filmed images of extreme violence, including the inevitable gang-rape; the idea being that, whenever Alex is tempted to commit sex and violence, the drugs will cause him to vomit in revulsion. When newsreel shots of Nazi violence are accompanied by Beethoven’s Ninth, this also inadvertently induces in him a horror of his favourite music. Finally, when it seems he is ‘cured’, he is returned to society as a kind of brainwashed zombie (‘a clockwork orange’) where he is subjected to a succession of beatings and humilations by his previous victims. These include the now crippled old writer, who plays Beethoven at him very loudly, prompting Alex to attempt suicide by jumping out of a window.
当他在医院康复时，他发现厌恶疗法已经消失。但现在他已经成为政府对待暴力犯罪新方法的典范。影片最后，他达成了一项协议，作为对一份高薪工作的回报，他同意政府可以利用他进行宣传，以展示其新政策取得了多么成功。但当然，一切都没有得到解决，因为在他的新形象背后，他完全没有改变。他仍然是那个精神病患者。7
When he recovers in hospital, he finds the aversion therapy has worn off. But by now he has become famous as an example of the government’s new method for treating violent criminals. The film ends with him doing a deal whereby, in return for a well-paid job, he agrees that the government can use him for propaganda purposes, to show what a success its new policy has been. But of course nothing has been resolved since, behind his new persona, he is completely unchanged. He is still the psychopath he always was.7
这则包装精美的性与暴力广告与 1971 年萨姆·佩金帕的《稻草狗》同时出现，同样由一位著名的美国导演在英国拍摄。达斯汀·霍夫曼饰演的主人公大卫是一位美国数学家，他带着穿着迷你裙的年轻英国妻子艾米回家，在康沃尔郡一处荒凉、没有树木的荒凉农舍里度过了一年的休假。附近原始、肮脏的村庄笼罩着一种阴森的威胁气氛，村里的主人是汤姆·文纳 (Tom Venner)，他是一位酗酒、欺凌弱小的老族长，他在酒吧里与他受虐待的儿子们打交道，并有一个想要变得性感的 14 岁女儿，贾妮丝。
This glossily-packaged commercial for sex and violence coincided in 1971 with Sam Peckinpah’s Straw Dogs, also set by a well-known American director in Britain. The hero David, played by Dustin Hoffman, is an American mathematician who has brought his mini-skirted young English wife Amy back home for a year’s sabbatical in a lonely farm house, set in a desolate, treeless Cornish landscape. An air of brooding menace centres on the primitive, dirty village nearby, dominated by Tom Venner, a drunken, bullying old patriarch, who holds court in the pub with his brutalised sons and has a would-be-sexy 14-year-old daughter, Janice.
无能的大卫如此沉浸在他的思想生活中，当他在黑板上写下方程式时，他身体沮丧的妻子故意让一群建筑工人看到她赤身裸体站在走廊上。然后她安排大卫出去，这样她就可以接待一位旧情人，后者扇了她一巴掌，然后扯下她的衣服插入她体内。当他们被一名建筑工人用枪指着打断时，她很享受这种感觉，后者接管了一切，将通奸变成了现实。强奸。与此同时，小珍妮丝在村里一个智障年轻人面前炫耀自己的性取向，和他一起消失，最终被勒死。
The ineffectual David is so wrapped up in his life of the mind, as he chalks up equations on a blackboard, that his physically frustrated wife deliberately allows a gang of builders to see her standing naked in the hallway. She then arranges for David to be out of the house, so she can receive an old lover, who slaps her about before tearing off her clothes to penetrate her. She is enjoying this when they are interrupted at gunpoint by one of the builders, who takes over, turning adultery to rape. Little Janice meanwhile flaunts her sexuality in front of a mentally retarded young man in the village, disappears with him and ends up being strangled.
当村里的白痴来到农舍请求她的父亲和兄弟的庇护时，大卫同意保护他。这促使愤怒的文纳和他的儿子们报复性地冲进房子，艾米想把凶手交出来，但是，面对这场危机，她迄今为止软弱、过于理智的丈夫突然发现了他男性气质的身体方面，迄今为止如此明显的缺乏。当袭击者准备闯入房屋时，他打了妻子一巴掌，让妻子屈服，并准备以武力应对。有一场漫长而极其暴力的战斗，农舍里尸横遍野（女主角最终亲自射杀了维纳，这与正午的呼应，就在老怪物即将杀死她丈夫的时候）。最后一次看到这位胜利的英雄微笑着驶入雾气缭绕的风景中，将这个村里的白痴交给当局。他发现了自己的男性力量。
When the village idiot comes to the farmhouse pleading for sanctuary from her pursuing father and brothers, David agrees to protect him. This prompts the enraged Venner and his sons to storm vengefully up to the house, where Amy wants to hand the murderer over, But, faced with this crisis, her hitherto weak, over-cerebral husband suddenly discovers the physical side of his masculinity, hitherto so conspicuously lacking. As the attackers prepare to break into the house, he slaps his wife into submission and prepares to meet force with force. There is a long, extremely violent battle, which leaves the farmhouse strewn with corpses (the heroine herself finally shooting Venner, in an echo of High Noon, just as the old monster is about to kill her husband). The triumphant hero is last seen driving off smiling into a fog-shrouded landscape, to hand over the village idiot to the authorities. He has discovered his masculine strength.
用原型术语来说，这是故事的唯一兴趣。在大部分情节中，主人公都迷失在自己的理智计算中，只是一个优柔寡断的男人的影子。故事中的其他人都身体力行。这两个女性角色都是性狂。这些男人残忍、暴力，而且性疯狂。最终，天平倾斜了，无能的懦夫发现了自己的男子气概，并变得像他们中的任何人一样暴力。这种熟悉的一厢情愿的逆转（“软弱、受辱的家伙向迫害者报仇”）为长期爆发的血腥、暴力和死亡提供了借口，然后故事以典型的伪结局结束，英雄消失在雾。
In archetypal terms, this is the only interest of the story. Through most of the plot, the hero, lost in his intellectual calculations, is only the indecisive shadow of a man. Everyone else in the story is aggressively physical. The two female characters are sex-mad; the men brutal, violent and also sex-mad. Eventually the scales tip, the ineffectual wimp discovers his manhood and becomes as violent as any of them. This familiar wishful-thinking reversal (‘weak, humiliated guy gets his own back on his persecutors’) provides the excuse for a prolonged explosion of blood, violence and death, before the story concludes in a typical pseudo-ending with its hero disappearing into the fog. This of course leaves wholly unresolved the question of how he is going to explain to the police that he and his wife have just been responsible for shooting several people.
第二年引起轰动的电影是贝尔纳多·贝托鲁奇的《巴黎最后的探戈》（1972），马龙·白兰度饰演一位中年美国侨民，住在巴黎一个肮脏的街区，那里到处都是妓女和吸毒者，他的妻子最近自杀了。他在街上闲逛，决定检查一套空置的公寓。珍妮是一个刚满十几岁的法国女孩，正在等待男友乘火车到达，一时冲动决定去看同一间公寓。当她在房间里徘徊时，白兰度从阴影中隐现出来。在争论谁应该得到公寓后，他们正要离开，突然互相抓住对方，并在墙上进行了一次笨手笨脚的性行为。这在几乎空荡荡的公寓里引发了一系列进一步的会议，每次会议都以粗鲁、客观、无爱的性交行为为标志，这些行为成为电影的主题。给它带来新奇感的是两个匿名者的景象，他们的自我如此隔绝，以至于他们甚至不知道对方的名字，见面只是为了合作性行为。1972 年引起特别轰动的一件事是白兰度用黄油润滑他进入女孩肛门的通道。最终，她厌倦了与一个年迈、完全以自我为中心的男性参与这种无爱的性游戏，并结束了他们毫无意义的关系。
A film which aroused a stir the following year was Bernardo Bertolucci’s Last Tango in Paris (1972), starring Marlon Brando as a middle-aged American expatriate living in a dingy quarter of Paris, full of prostitutes and drug-addicts, whose wife has recently committed suicide. He roams the streets and decides to inspect a vacant flat. Jeanne, a French girl barely out of her teens and waiting for her boyfriend to arrive on a train, decides on an impulse to look at the same flat. While she is wandering through the rooms, Brando looms out of the shadows. After sparring over who should get the flat, they are about to leave when they suddenly grab each other and snatch a fumbled act of sex against the wall. This launches a series of further meetings in the all-but empty apartment, each marked by acts of crude, impersonal, unloving copulation which become the main theme of the film. What gave it the frisson of novelty was the sight of two anonymous people, so cut off in their own egos that they never even get to know each other’s names, meeting merely to co-operate in the act of sex. An episode which generated a particular stir in 1972 was where Brando used butter to lubricate his entry into the girl’s anal passage. Eventually she wearies of participating in this loveless sexual game with an ageing, totally self-absorbed male and brings their meaningless relationship to an end.
如果说《最后的探戈》通过以最非人性化的方式展示性，在性方面“推回了边界”，那么托比·胡珀的《德克萨斯》 《电锯大屠杀》（1974）对暴力也采取了同样的做法。这大致是根据现实生活中的连环杀手的同一个故事改编的，这个故事启发了《惊魂记》。但希区柯克的版本与其后继者的版本之间的对比表明，轰动效应的螺旋式上升在短短 14 年里已经走了多远。五位漫无目的的半嬉皮士在其中一位莎莉的带领下，开着一辆面包车前往德克萨斯州的一个偏远地区，她童年时经常去那里看望她的祖父。参加聚会的还有她坐在轮椅上的残疾弟弟。在路上，他们抓住了一个疯狂的年轻人，他吓坏了，在他们摆脱他之前割伤了自己，气氛中弥漫着一种威胁的气氛。当他们到达祖父的老房子（现已废弃）时，他们听到嗡嗡作响的发电机传来附近唯一的另一栋房子有人住的消息。当第一个年轻人，后面跟着一个女孩去调查时，电影的主要动作就开始了。
If Last Tango ‘pushed back the frontiers’ in sexual terms, by showing sex for its own sake in the most dehumanised way possible, Tobe Hooper’s The Texas Chainsaw Massacre (1974) did the same for violence. This was loosely based on the same story of a real-life serial killer which had helped inspire Psycho. But the contrast between Hitchcock’s version and its successor showed just how far that rising spiral of sensationalism had travelled in just 14 years. A group of five aimless semi-hippies are led by one of them, Sally, to drive off in a van to a remote part of Texas, where in childhood she used to visit her grandfather. The party includes her crippled brother in a wheelchair. On the road an air of gathering menace is built up when they pick up a mad young man who freaks out and slashes himself, before they get rid of him. When they arrive at the grandfather’s old house, now abandoned, they hear from a whirring generator that the only other house nearby is occupied. When first one young man, followed by a girl, go to investigate, the film’s main action begins.
这座房子里散落着被啃过的骨头，住着一个由精神病患者组成的屠宰场工人家庭，其中包括他们在路上捡到的那个年轻人，原来他也是食人者。其中一个名叫“皮脸”，挥舞着一把尖叫的电锯，戴着一个用人皮制成的面具。这部电影的唯一目的就是让观众的恐惧感、恐怖感、震惊感和厌恶感达到最高程度，因为我们看到莎莉的朋友们一个接一个地被砍死、肢解，像屠宰场里的动物一样被对待（我们看到女孩在她赤裸的尸体被扔进冰箱之前被挂在肉钩上），最后被吃掉。一个特别令人着迷的场景显示，这个残疾人坐在轮椅上被追赶穿过树林，然后他遇到了与其他人一样的可怕结局。
The house, littered with gnawed bones, is occupied by a family of psychopathic abattoir workers, including the young man they picked up on the road, who it turns out are also cannibals. One of them, Leatherface, wields a screaming chain-saw and wears a face-mask made from human skin. The film’s only purpose is to keep the audience’s sense of terror, horror, shock and disgust screwed to the highest pitch, as we see Sally’s friends one after another hacked to death, dismembered, generally treated like animals in an abattoir (we see the girl being hung from a meat hook before her naked corpse is dumped in a freezer) and finally eaten. A particularly obsessional sequence shows the cripple being chased through the woods in his wheelchair, before he meets the same grisly end as the others.
我们最终看到，住在房子楼上的是最可怕的怪物，是家里重男轻女的老祖父，他的妻子、祖母的木乃伊尸体伴随着他，这让人自觉地提到了《惊魂记》。当只剩下莎莉时，导演与观众开玩笑，让她逃到她想象的附近道路上安全的加油站。但她后来发现经营这家公司的人是这个家庭的父亲，他把她送回了地狱般的囚禁之中。最后，她被允许进行第二次“惊心动魄的逃脱”，影片以她独自坐在一辆卡车的后座上结束，她歇斯底里地轻松地大笑着。
We eventually see that, living upstairs in the house, is the most horrible monster of them all, the family’s patriarchal old grandfather, accompanied, in a self-conscious reference to Psycho, by the mummified corpse of his wife, the grandmother. When only Sally is left, the director plays with his audience by allowing her to escape to what she imagines is the safety of a gas station on a nearby road. Except that she then discovers that the man running it is the family’s father, who returns her to hellish captivity. Finally she is allowed a second ‘thrilling escape’ and the film ends with her sitting alone on the back of a truck from which she has thumbed a lift, laughing in hysterical relief.
至少在《惊魂记》中，除了诺曼·贝茨汽车旅馆那幽闭恐怖的小噩梦世界之外，仍然存在着一个令人安心的常态和社会秩序框架。终于可以看到这个畸形的怪物被从他那阴暗的、夜化的王国中带出来，进入到了平常的光天化日之下，以一个萎缩的、可怜的形象坐在他的牢房里。在《德州电锯杀人狂》中几乎感觉不到如此正常、有序的外部世界。没有任何关于原型结局的暗示表明怪物最终被记录下来。所发生的一切只是他们的一名受害者逃脱了，留下杀人食人者的家庭在他们阴暗的王国里继续生活。这部电影的唯一目的是通过让观众接触到一系列侵犯生命的无情且幽闭恐怖的图像来激发观众的兴奋，就像其创作者的幻想一样。一旦“推回边界”的冲动达到了这一点，就很难找到更多有待探索的幻想极端了。
At least in Psycho, beyond the claustrophobic little nightmare world of Norman Bates’s motel, there had still been a reassuring framework of normality and social order. The deformed monster could finally be seen being lifted out of his shadowy, nyktomorphic kingdom into the light of common day, sitting as a shrunken, pathetic figure in his prison cell. In The Texas Chainsaw Massacre there is scarcely any sense of such a normal, ordered outside world at all. There is no hint of that archetypal ending which would show the monsters being finally brought to book. All that has happened is that one of their victims has escaped, leaving the family of homicidal cannibals to live on in their shadowy kingdom. The film’s sole purpose has been to excite its audience by exposing them to as relentless and claustrophobic a stream of life-violating images as its creators’ fantasies could come up with. And once the compulsion to ‘push back the frontiers’ had reached this point, it would not be easy to find many further extremes of fantasy left to explore.
女主角当英雄
The heroine as hero
在二十世纪的最后几十年里，作为本章主题的模式正在朝着其合乎逻辑的结论迈进。当仅限于几个开创性的例子时，性和暴力的身体意象曾经显得如此新颖和令人震惊，但现在逐渐在主流故事讲述的大部分领域变得司空见惯。裸体情侣进行性行为的镜头成为电影和电视剧中越来越常见的镜头。这些曾经禁忌的四字母单词的使用在小说和电影屏幕上变得司空见惯。恐怖电影不遗余力地聚焦于肢解人体。
In the closing decades of the twentieth century, the pattern which has been the theme of this chapter worked towards its logical conclusion. The physical imagery of sex and violence, which had once seemed so novel and shocking when confined to just a few trail-blazing examples, gradually became commonplace across large areas of mainstream storytelling. Shots of naked couples engaging in the sexual act became an increasingly familiar feature of films and television dramas. Use of those once-taboo four-letter words became routine on the pages of novels and cinema screens. Horror movies spared no detail in focusing on the dismemberment of human bodies.
这一进程还剩下最后一个重要步骤，这反映了西方社会对妇女的看法以及妇女自身形象正在发生的巨大变化。与女权主义运动兴起的同时，这一转变最显着的特征是有意识地拒绝那些传统上被理解为“女性”的价值观，并重新强调在社会中主张“男性”元素的重要性。荣格称之为“阿尼姆斯”的女性心理。女性形象正在变得去女性化。女装风格不再旨在表达优雅、诱惑、漂亮、优雅等传统女性特质：它们被设计成要么以硬朗、直接的方式性感挑衅，要么毫无性感的商务风格。裸体女性身体的景象在银幕和舞台上越常见，更不用说在报纸和数以百万计的色情杂志中，它就越失去了其隐藏的女性神秘感的旧光环。故事中的女性角色不再被期望表现出纯真、谦虚、直觉理解、爱心等传统女性品质。
There was one last significant step left for the process to take, and this reflected the dramatic change which was taking place in Western society’s view of women, and in women’s image of themselves. In parallel with the rise of the feminist movement, the most conspicuous feature of this transformation was a conscious rejection of those values which had traditionally been understood as ‘feminine’, and a new emphasis on the importance of asserting that ‘masculine’ element in the female psyche which Jung terms the animus. The image of women was becoming de-feminised. No longer were the styles of women’s clothing intended to express such traditional feminine attributes as grace, allure, prettiness, elegance: they were designed to be either, in a hard, direct way, sexually provocative, or sexlessly businesslike. The more familiar the sight of the naked female body became on screens and stages, not to mention in newspapers and in millions of pornographic magazines, the more it lost its old aura of hidden female mystery. No longer were female characters in stories expected to display such traditional feminine qualities as innocence, modesty, intuitive understanding, a loving heart.
现在，人们非常重视展示受敌意驱动的女性能够与男性竞争并在男性方面超越男性的能力。人们期望女性角色在精神上和身体上都像男性一样聪明和坚强。我们已经谈过电影《异形》（ Alien，1979）的一个早期例子，其中一位女性扮演了典型的男性角色，作为一艘宇宙飞船船员的核心人物，这艘宇宙飞船遭到了一种特别可怕和致命的怪物的入侵。这部电影的基本情节与《德州电锯杀人狂》非常相似。在一个可怕的幽闭恐怖、封闭的小世界里，我们看到七名船员被一一带走，他们的身体以最可怕的方式解体。最终，只有坚强、足智多谋的女主人公活了下来，在最后的枪战中，她在千钧一发之际将怪物炸入太空，堪比任何男性英雄。她在故事中扮演的角色的全部意义在于，故事中的任何内容都不应该是明显女性化的。她只是直接被转换成传统的男性英雄角色。
There was now a premium on showing animus-driven women capable of competing with men and outperforming them in masculine terms. Female characters were expected to be shown as just as clever and tough as men, mentally and physically. We have already touched on one early example of a film, Alien (1979), in which a woman was cast in an archetypally male role, as the central figure in the crew of a spaceship which is invaded by a peculiarly horrible and deadly monster. The basic plot of this film was very similar to that of The Texas Chainsaw Massacre. In a terrifyingly claustrophobic, closed little world, we see the seven crew members being picked off one by one, their bodies disintegrating in the most gruesome manner. Eventually only the tough, resourceful heroine is left alive, and in a final shoot-out, worthy of any male hero, she manages in the nick of time to blast the monster into space. The whole point of her part in the story was that nothing about it should be distinctively feminine. She was simply transposed directly into the traditional role of a manly hero.
恐怖电影《沉默的羔羊》（1991）是一个不太直接的例子，可以说明这种性别转换可能导致的复杂情况。女主角克拉丽斯·斯塔林是一位拥有心理学学位的年轻警察见习员，她首先表现出身体和精神上的坚强，与她的全男性见习员相匹配。重点明显放在她的男性特质而不是女性特质上。她然后，无论她的性别如何，她的上级军官都会以一种难以置信的方式与这个时代最可怕的罪犯进行斗智斗勇。
A rather less straightforward example of the complications this gender-switch could lead to was the horror film The Silence of the Lambs (1991). The heroine Clarice Starling, a young police trainee with a psychology degree, is first shown as physically and mentally tough, a match for her all-male fellow-trainees. The emphasis is placed clearly on her masculine rather than feminine attributes. She is then, in a way which would be implausible whatever her gender, pitted by her superior officer in a battle of wits against the most fearsome criminal of the age.
汉尼拔·莱克特博士本人是一位著名的精神病学家，但同时也是一名残忍而聪明的连环杀手，他喜欢吃受害者的尸体，正在服无期徒刑。她被派去他牢房里采访他的目的是要开动脑筋，试图追查第二个仍在逃的连环杀手，他杀死了三名年轻女子，然后剥掉了她们的部分皮肤。为了增加她必须面对的恐惧，当她沿着牢房走廊去见食人者时，另一名大屠杀凶手透过栅栏发出嘶嘶声“我能闻到你的阴户”（后来他用精液给她洗澡）。事实证明，莱克特是“黑暗女性”所拥有的“黑暗男性”的熟练、外表彬彬有礼、极其巧妙的代表。他具有“诱惑者”形象的无情、直觉和微妙，当他试图用他的咒语引诱女主角时。从这个意义上说，性别界限开始交叉，因为尽管克拉丽斯本应代表坚韧的现代女性，但她发现自己被他敏锐的智慧所吸引，陷入了更熟悉的原型角色，即一名陷入男性怪物权力的年轻女性。
Dr Hannibal Lecter is himself a renowned psychiatrist, but also happens to be serving a life-sentence as a cruel and clever serial killer who likes to eat the bodies of his victims. The purpose of her being sent to interview him in his prison cell is to pick his brains in trying to track down a second serial killer, still at large, who has killed three young women before removing parts of their skin. To build up the horror of what she has to face, when she walks down the corridor of cells to meet the cannibal, another mass-murderer hisses through the bars ‘I can smell your cunt’ (he later showers her with his semen). Lecter turns out to be a masterful, outwardly courteous, devilishly ingenious representative of the ‘dark masculine’ possessed by the ‘dark feminine’. He has the heartless, intuitive subtlety of a ‘Tempter’ figure, as he tries to lure the heroine under his spell. In this sense the gender wires begin to get crossed because, although Clarice is meant to represent tough modern womanhood, she finds herself getting drawn by his penetrating intelligence into the more familiar archetypal role of a young woman falling into the power of a male monster.
然而，然后我们切换到故事中另一个连环杀手的世界，我们看到他绑架了他的第四个潜在受害者。和她的前任一样，他计划将这位年轻女子关在地窖的一个坑里，直到他杀死她并剥下她的部分皮肤。因此，我们看到原型情况重演，第二个年轻女子更明显地处于无情怪物的力量之下。然后，故事中的两个元素逐渐融合在一起，克拉丽斯发现了第二个怪物与莱克特博士之间的直接联系，并试图与他达成协议。作为从可怕的牢房转移到更舒适的环境的回报，他必须向她提供追查另一个杀手所需的线索。
We then, however, switch to the world of the story’s other serial-killer, who we see abducting his fourth prospective victim. This is a young woman whom, as with her predecessors, he plans to keep as a prisoner in a pit in his cellar, until he can kill her and strip off parts of her skin. We thus see the archetypal situation repeated, a second young woman rather more obviously in the power of a ruthless monster. The two elements in the story are then gradually brought together, as Clarice uncovers a direct link between this second monster and Dr Lecter and tries to strike a bargain with him. In return for being taken from his horrible prison cell to more congenial surroundings, he must give her the clues she needs to track down the other killer.
从某种意义上说，她的计划犯了可怕的错误，莱克特得以逃脱，并在途中野蛮地杀害了两名警察。在另一个例子中，它起作用了，因为他给了她足够的编码线索，关于第二个较小的怪物的身份，使她能够追踪连环杀手。这使她能够以经典的英雄风格，在千钧一发之际将女孩从比死亡更糟糕的命运中拯救出来，并杀死怪物。但事实是，这个第二杀手，一个可怜的小痴迷中年男人，只是个小混混。给故事蒙上阴影的真正怪物是莱克特，正如我们在电影的结尾场景中看到的那样，他已经逃到了一个宜人的加勒比岛屿。换句话说，我们的女主角根本没有真正履行好英雄应有的角色。尽管她用纸板战胜了他的影子，故事中的黑暗主要人物已经成功地智取了她。怪物继续存在（以便他在续集中被带回来）。
In one sense, her scheme goes hideously wrong, in that this enables Lecter to escape, savagely killing two policemen on the way. In another it works, in that he has given her enough coded clues as to the identity of the second, lesser monster to enable her to track the serial-killer down. This enables her, in classic hero-fashion, to save the girl in the nick of time from a fate worse than death and slay the monster into the bargain. But the fact is that this second killer, a pathetic little obsessional middle-aged man, was only ever small fry. The real monster overshadowing the story is Lecter who, as we see in the film’s closing scene, has escaped to an agreeable Caribbean island. In other words, our heroine has not really fulfilled the proper role of a hero at all. Despite her little cardboard victory over his shadow, the chief figure of darkness in the story has successfully outwitted her. The monster lives on (to allow for him be brought back in the sequel).
女主角变身怪物
The heroine as monster
在这个讲故事的新时代，“光明”和“黑暗”之间的许多曾经明确的区别已经消失，至少在这样的故事中仍然保留着一些痕迹，其中冲突集中在警察之间的战斗上，代表了价值观社会秩序的一部分，以及一个精神变态的怪物，代表最尖锐的形式是将所有这些价值观撕成碎片的黑暗冲动。但即使是这种区别也可能被颠倒，正如明年另一部好莱坞电影所体现的那样，这部电影在某种意义上使本章所讲述的故事回到了原点。
In this new age of storytelling where so much of the once clear distinction between ‘light’ and dark’ had been lost, at least some vestige of it remained in stories like this where the conflict centres on a battle between the police, representing the values of the social order, and a psychopathic monster, representing in its most acute form the dark urge to rip all those values to shreds. But even this distinction was open to inversion, as was next year exemplified in another Hollywood film which in a sense brought the story traced in this chapter full circle.
《本能》（1992）以一个身份不明的女人的镜头开始，她的脸被金发遮住，与一个男人进行着激情的性爱。她在他之上，换句话说，处于“男性”位置。当他们接近高潮时，我们看到她用一条白色丝巾把他绑在床上，然后偷偷地伸手去拿冰锥。当他们达到疯狂的高潮时，她不断地将镐插入她的伴侣体内，鲜血喷得到处都是，直到他死去。
Basic Instinct (1992) opens with a shot of an unidentified woman, her face hidden by blonde hair, engaged in passionate sex with a man. She is on top of him, in other words in the ‘male’ position. As they approach climax we see her tying him down to the bed with a white silk scarf, then secretly reaching for an ice-pick. As they come to frenzied orgasm she plunges the pick repeatedly into her partner, blood spurting everywhere, until he is dead.
按照传统的说法，故事的“英雄”角色是被派去调查这起犯罪事件的警察，旧金山警察局的尼克·柯兰(Nick Curran)。他的主要对手是头号嫌疑犯凯瑟琳，一位三十多岁、冷酷、美丽、金发碧眼的女继承人。侦探了解到的关于这位女士的一切似乎都证实了她的罪行。她一直是死者的固定性伴侣，正如她明确表示的那样，并不是因为她爱他，而只是因为她喜欢“操”他。她刚刚出版了一本看似自证其罪的小说，讲述了一名女子用白色丝巾将自己的情人绑在床上后，用冰锥谋杀了他的故事。尼克发现，当她在大学读心理学时（就像克拉丽斯·史达琳一样，这是好莱坞的速记，应该传达出她拥有强大的、“男性”智力），她的一位教授被发现被冰镐谋杀。甚至有人怀疑她策划了那场划船事故，导致她的父母丧生，让她成为了一位富有的女继承人。
Cast in what, in conventional terms, would have been the role of the story’s ‘hero’ is the policeman sent to investigate the crime, Nick Curran of the San Francisco Police Department. His chief antagonist is Catherine, the chief suspect, an ice-cold, beautiful, blonde heiress in her thirties. Everything the detective learns about this lady seems to confirm her guilt. She had been a regular sexual partner of the dead man, not because she loved him, as she makes clear, but simply because she enjoyed ‘fucking’ him. She has just published a seemingly self-incriminating novel about a woman who murders her lover with an ice-pick, after tying him to the bed with a white silk scarf. Nick discovers that, while she was at college reading psychology (as with Clarice Starling, this is Hollywood shorthand supposed to convey that she has a powerful, ‘masculine’ intelligence), one of her professors had been found murdered with an ice-pick. There are even suspicions that she had arranged the boating accident which killed her parents, leaving her a rich heiress.
然而，凯瑟琳很快就开始围着侦探转。她故意利用自己的性感来吸引他。她似乎对他的职业和私人生活了解太多，比如他以前是个酒鬼和可卡因使用者，他的妻子自杀了，他因误杀一些游客而陷入麻烦。这是因为她引诱尼克的一名警察同事向她提供了他的机密警察档案，当他发现这一点时，罪犯很快被发现被枪杀，导致尼克作为嫌疑人被停职。他在一座改建的教堂的夜总会里痴迷地追踪凯瑟琳，发现她和一名黑人在厕所隔间里吸食可卡因，她的女同性恋伴侣站在旁边。但凯瑟琳带他回家睡觉，进行疯狂的性爱，
However, Catherine soon begins to run rings round the detective. She deliberately uses her sexuality to draw him under her spell. It seems she knows far too much about his professional and private life, such as that he is former alcoholic and cocaine-user, that his wife committed suicide and that he had been in trouble for accidentally killing some tourists. This is because she has lured one of Nick’s fellow policemen into giving her his confidental police file, and when he discovers this, the culprit is soon found shot, leading to Nick’s suspension from duty as a suspect. He besottedly tracks Catherine down in a nightclub in a converted church, where he finds her taking cocaine in a lavatory cubicle with a black man, with her lesbian partner standing by. But Catherine takes him home to bed, to engage in frenzied sex, and when she insists on tying him down with a white silk scarf he is so carried away by the excitement he no longer cares whether she is about to murder him or not.
从典型的角度来看，凯瑟琳是一个典型的妖妇，美丽而致命。然而，本着二十世纪末“女权主义”的精神，她在很大程度上被描绘成故事的女主角，正是因为她是一个坚强、聪明的女人，愚弄了她周围的所有男人，尤其是那些软弱、困惑的男人。英雄。为了消除观众对欣赏这样一个无情的黑暗人物可能产生的担忧，剧本被巧妙地扭曲了。
In archetypal terms, Catherine is thus a classic Temptress, beautiful and deadly. Yet, in the spirit of late-twentieth-century ‘feminism’, she is very much presented as the story’s heroine, precisely because she is a strong, clever woman making a fool of all the men around her, above all the weak, bemused hero. And just to neutralise any concerns the audience might have at admiring such a ruthlessly dark figure, the script is then given a cunning twist.
通过暗示和影射，第二个女人被塑造成凯瑟琳的分身。尼克得知他的警察同事兼前女友贝丝曾与凯瑟琳一起上大学，他们一起读心理学。他们享受过一段女同性恋的恋情。他们都把头发染成金色，穿着相似，并试图看起来像一样。尼克想知道贝丝是否杀了她的丈夫，就像凯瑟琳杀了她的父母一样？当尼克来不及拯救他最亲密的朋友时，他被一个隐约看到的金发女人用冰锥谋杀了，然后他在同一栋楼里遇到了贝丝，她似乎拿着枪，并向她开枪。原来她根本没有拿枪，她的临终遗言是“我爱你”。那么贝丝真的犯下了这起最新的谋杀案吗？尼克开始怀疑，她是否也对所有其他谋杀案负有责任？又或者所有指向此事的线索都是真凶凯瑟琳本人用邪恶狡猾的方式植入的？我们被故意拒绝提供任何可以回答这些问题的信息。然后，当尼克终于回到家时，他发现凯瑟琳正在等他。他们做着热烈的爱，她处于“男性”位置。影片结束时，镜头从她床边滑到地板上，我们看到了一把冰镐。凯瑟琳是否要以电影开头场景的精确重复来谋杀侦探？我们怀疑她可能会这样做，但我们永远不被允许知道。
By hints and innuendos, a second woman is built up as Catherine’s doppelganger. Nick learns that Beth, his police colleague and former girl friend, had been at college with Catherine, where they read psychology together. They had enjoyed a lesbian affair. They had both dyed their hair blonde, dressed alike and tried to look alike. Had Beth, Nick wonders, killed her husband, just as Catherine killed her parents? When Nick arrives just too late to save his closest friend from being murdered with an ice-pick by a half-glimpsed blonde woman, he then runs into Beth in the same building, seemingly holding a gun, and shoots her. It turns out she had not been holding a gun at all, and her dying words are ‘I love you’. So had Beth really committed this latest murder or not? Had she even been responsible, Nick begins to wonder, for all the other murders as well? Or had all the clues pointing to this been planted with devilish cunning by the real murderer, Catherine herself? Deliberately we are denied any of the information which would provide answers to these questions. Then, when Nick finally returns home, he finds Catherine waiting for him. They make passionate love, with her in the ‘male’ position on top. As the film ends, the camera slides down her side of the bed to the floor, where we see an ice-pick. Is Catherine about to murder the detective in an exact repeat of the film’s opening scene? We are left suspecting she might, but we are never allowed to know.
尽管这个故事被故意变成了尼克托莫尔（nyktomorph），一个无法解决的形象，以逗弄观众将凯瑟琳视为一个矛盾的人物，也许根本就没有罪，但我们已经看过足够多的她了，知道她具有无情怪物的所有属性。作为汉尼拔·莱克特的隐喻对应物，她是一个十足的“食人者”。她是一个被“消极敌意”所控制的女人的典范。”，由她性格中的男性成分以最黑暗的方式驱动。她以性欲为诱饵，冷酷、残忍、精于算计、掠夺成性，她的力量只用于破坏。她是利己主义的化身。在这方面，我们已经看到幻想世界从光谱的一端转向另一端。一开始，萨德很享受贾斯汀这个无私的“轻柔女性”的景象，她成为一系列邪恶男人的无助受害者。这个图案最终又回到了原点，展示了一个邪恶的女人，她被内心最黑暗的男性气质所占据，成为一系列软弱男人的无助受害者。然而，到目前为止，“黑暗反转”已经取代了时尚的女性形象，与她的男性同行莱克特不同，
Although the story is thus deliberately turned into a nyktomorph, an image which cannot be resolved, to tease its audience into seeing Catherine as an ambivalent figure who just might not be guilty after all, Yet we have already seen quite enough of her to know that she has all the attributes of a heartless monster. As a metaphorical counterpart to Hannibal Lecter, she is a complete ‘man-eater’. She is a supreme example of a woman in the grip of her ‘negative animus’, driven by the masculine component in her personality in the darkest way possible. Using her sexuality as a bait, she is hard, cruel, calculating, predatory, using her power only to destroy. She is egotism incarnate. And in this respect, we have seen the world of fantasy moving from one end of the spectrum to the other. In the beginning was de Sade enjoying the spectacle of Justine, the selfless ‘light feminine’, being made the helpless victim of a succession of devilish men. The pattern eventually comes full circle, showing a devilish woman, possessed by her inner masculinity in its darkest form, making helpless victims of a succession of weak men. Yet, so far had the ‘dark inversion’ taken over the fashionable image of womanhood that, unlike her male counterpart Lecter, this glamorous psychopath could somehow be presented to the audience as a heroine to be admired.
本章所讲述的故事可能被视为最后一个凄凉的脚注，这反映在一位伦敦评论家在世纪末的总结中，他称之为“可能是自约翰·奥斯本的《回顾》首映以来英国戏剧中最重要的现象” 1956 年的《愤怒》。他描述了在 20 世纪 90 年代中期，“二十岁和三十岁出头的新一代作家”如何“不知从何而来”，其新的写作风格“很快被称为“面对面”剧院'。这具有以下明显的新颖性：
What may be seen as a final forlorn footnote to the story traced in this chapter was reflected in a London critic’s summary at the end of the century of what he called ‘possibly the most significant phenomenon in British theatre since the premiere of John Osborne’s Look Back in Anger in 1956’. He described how, in the mid-1990s, a ‘new breed of writers in their twenties and early thirties’ had ‘burst through from nowhere’, with a new style of play which had been ‘quickly dubbed ‘in-yer-face’ theatre’. This featured such apparent novelties as:
“令人作呕的性暴力和身体暴力行为、淫秽语言以及对当代社会的绝望看法，似乎完全是虚无主义……肛交、挖眼珠、舞台上排便、吸毒成瘾的租客、同类相食和酷刑成为戏剧性的主要成分。炖。'
‘sickening acts of sexual and physical violence, obscene langage and a despairing view of contemporary society that seemed entirely nihilistic ... anal rape, eyeball gouging, on-stage defecation, drug-addicted rentboys, cannibalism and torture became stock ingredients in the dramatic stew.’
难道我们听不到至少一代人（甚至更远）的哈欠声吗？毕竟，连莎士比亚都没有在《泰特斯·安德洛尼克斯》和《泰特斯·安德洛尼克斯》中包括食人行为吗？《李尔王》中挖眼球？当然，在他的例子中，这些图像只是更大、更完整故事的展开的偶然事件，在这些故事中，最初令人震惊的暴力行为的肇事者最终根据原型的模式付出了代价。
Can we not hear a yawn stretching back at least a generation, if not further? After all, had not even Shakespeare included cannibalism in Titus Andronicus and eyeball gouging in King Lear? Although in his case, of course, these images had merely been incidental to the unfolding of larger and more complete stories, in which the perpetrators of the original shocking acts of violence eventually pay the penalty, according to the pattern of the archetype.
这一新时尚的核心人物是一位年轻的女剧作家莎拉·凯恩 (Sarah Kane)，她 23 岁时创作的《诅咒》于 1995 年在伦敦皇家宫廷首次上演。凯特 (Cate) 是一位头脑简单的 21 岁女孩，与妈妈住在一起，她住在酒店房间里。他拿着枪，经常使用四个字母的单词，并对酒店的非白人员工发表种族主义言论。他开始在凯特面前自慰，试图脱掉她的衣服，然后强迫她在他结束自慰时握住他的阴茎。她说她不会和他发生性关系，因为她不再是他的女朋友，并且已经向肖恩保证了自己。他们无关紧要地谈论足球、她找到工作的机会以及他是否杀过人。
The central figure in this new vogue was a young female playwright, Sarah Kane, whose Blasted, written when she was 23, was first staged at London’s Royal Court in 1995. Ian, a hardbitten, foul-mouthed tabloid journalist with a liver problem, and Cate, a simple-minded 21-year old who lives with her mum, are in a hotel room. He carries a gun, constantly uses four-letter words and makes racist comments about the hotel’s non-white staff. He starts to masturbate in front of Cate, tries to undress her, then forces her to hold his penis while he concludes his masturbation. She says she will not have sex with him because she is not his girlfriend any more and has promised herself to Shaun. They talk inconsequentially about football, her chances of getting a job and whether he has ever killed anyone.
当他们第二天一早醒来时，凯特很生气并准备离开。他用枪指着她的头，躺在她的双腿之间，模拟性行为，直到射精。他告诉她有人想杀他。凯特对他进行口交，最后咬了他的阴茎。他们点了早餐。当它到达时，凯特消失在浴室里，因为她在性行为后感到恶心。一名士兵拿着步枪进来。他拿走了伊恩的枪，吃了两顿早餐，查看浴室，发现凯特不见了。一声巨响。酒店被迫击炮弹炸毁，这名士兵昏迷不醒。当他醒来时，他告诉伊恩他和其他士兵如何检查一所房子，他们只在那里发现了一个小男孩。其中一人射穿了他的腿。随后他们发现三男四女藏在地下室。
When they wake early next morning, Cate is angry and prepares to leave. He holds his gun at her head, lies between her legs and simulates sex until he ejaculates. He tells her that people are trying to kill him. Cate performs oral sex on him, and ends by biting his penis. They order breakfast. When it arrives, Cate disappears into the bathroom because she feels sick after her sex act. A soldier enters with a rifle. He takes Ian’s gun, eats both breakfasts, looks into the bathroom and finds Cate has disappeared. There is a loud explosion. The hotel has been blasted by a mortar bomb, knocking the soldier unconscious. When he comes round, he tells Ian how he and other soldiers had been inspecting a house, where they had only found a small boy. One had shot him through the legs. Then they found three men and four women hiding in the basement. He himself had raped the women, the youngest a girl of twelve:
”然后她哭了。让她把我舔干净...朝她父亲的嘴开枪。兄弟们喊道。把他们的睾丸挂在天花板上。”
‘then she cried. Made her lick me clean ... shot her father in the mouth. Brothers shouted. Hung them from the ceiling by their testicles.’
经过更多的谈话，这名士兵回忆起他自己的女朋友是如何被操的，她的喉咙被割断，耳朵和鼻子被砍掉并钉在前门上，他用左轮手枪指着伊恩的头强奸了他，同时“哭了他的脸”。心出来了’。这一幕以士兵依次吸出伊恩的每只眼睛并吃掉而结束。最后一幕以士兵被炸出脑浆开始。凯特浑身湿透，抱着一个女人交给她照顾的婴儿进来。“镇上的每个人都在哭泣……士兵已经接管了。” 宝宝哭着要吃东西。伊恩想自杀。凯特说这是错误的，“上帝不会喜欢它”。伊恩 回复:
After more conversation, in which the soldier recalls how his own girlfriend had been buggered, had her throat cut and her ears and nose hacked off and nailed to the front door, he holds the revolver to Ian’s head and rapes him, while ‘crying his heart out’. The scene ends with the soldier sucking out each of Ian’s eyes in turn, and eating it. The final scene opens with the soldier having blown his brains out. Cate enters, soaking wet, carrying a baby a woman has given her to look after. ‘Everyone in town is crying ... soldiers have taken over.’ The baby is crying for food. Ian wants to kill himself. Cate says this would be wrong, ‘God wouldn’t like it’. Ian replies:
“没有一个……没有上帝。” 没有圣诞老人。没有仙女。没有纳尼亚。没什么他妈的。
‘there isn’t one ... no God. No Father Christmas. No fairies. No Narnia. No fucking nothing.’
伊恩试图开枪自杀，但枪不起作用。凯特发现婴儿死了。她把它埋在地板下面，埋在两块木头做成的十字架下面，然后离开去寻找食物。伊恩自慰时重复了 11 次“屄”这个词。他在地板上排便，试图清理干净，然后拥抱士兵的尸体。他把十字架从地里扯出来，把婴儿的尸体抱起来吃掉。他将遗体放回地板下，然后爬进洞里。雨从屋顶上的一个洞里流进来。凯特回来了，给了他食物和杜松子酒，自己也喝了一些，然后坐下来吮吸拇指。最后伊恩说“谢谢”。舞台一片漆黑。
Ian tries to shoot himself, but the gun doesn’t work. Cate discovers the baby is dead. She buries it beneath the floorboards, under a cross made from two pieces of wood, and leaves to find some food. Ian masturbates to the word ‘cunt’ repeated 11 times. He defecates on the floor, tries to clean it up and then hugs the soldier’s corpse. He tears the cross out of the ground, lifts out the baby’s body and eats it. He puts the remains back under the floor and climbs into the hole. It rains through a hole in the roof. Cate returns, gives him food and gin, drinks some herself and sits sucking her thumb. At last Ian says ‘thank you’. The stage blacks out.
1999 年，二十世纪即将结束，《Blasted》的女作者28 岁时上吊自杀。根据一本当代英国戏剧选集，在她去世之前，她“作为她这一代的主要剧作家而享有国际声誉”。据她的导演称，她的“戏剧之神”包括塞缪尔·贝克特和爱德华·邦德。从心理上来说，到目前为止，她最著名的戏剧中最有趣的特征是凯特这个角色，在这种黑人故事中最不寻常的是，她本质上是善良的。她试图按照某些价值观生活，有一种简单的宗教意识，照顾婴儿，用十字架标记婴儿的死亡，最后像喂养孩子一样喂养没有眼睛、绝望的伊恩。在她的弱智状态下，凯特是女作家内心压抑的女性气质的投射。但她的这一部分却不断地被坚硬的事物所贬低和压倒，以伊恩的形象为代表的敌意（最终分裂成两半，出现了更加残暴的士兵）。这是现实生活中一种常见的悲惨模式，当女性的性格中出现这种冲突时，她的黑暗敌意的攻击性最终可能会自我转变，驱使她自杀。从这个意义上说，莎拉·凯恩的戏剧和她的死亡是反映那个时代内心世界的最后一面黑暗镜子：讲故事不仅反映了这种精神崩溃，而且还有助于推动这种精神崩溃。
In 1999, as the twentieth century came to its close, the authoress of Blasted hanged herself, at the age of 28. Before her death, according to an anthology of contemporary British plays, she had ‘established an international reputation as the leading playwright of her generation’. Her ‘theatrical gods’, according to her director, included Samuel Beckett and Edward Bond. Psychologically, by far the most interesting feature of her best-known play was the character of Cate who, most unusually in stories of this blackness, is shown as essentially good-hearted. She tries to live by some values, has a simple religious sense, cares for the baby, marks its death with a cross, and ends up feeding the eyeless, hopeless Ian like a child. In her mentally retarded state, Cate is a projection of the authoress’s own repressed inner femininity. But this part of her is constantly degraded and overridden by the hard, superior masculine element in her personality, the dark animus represented by the figure of Ian (which eventually splits into two, with the appearance of the even more brutalised soldier). It is a tragically familiar pattern in real life that, when such a conflict develops in a woman’s personality, the aggression of her dark animus may eventually turn in on itself, driving her to suicide. In this sense, Sarah Kane’s play and her death were a final dark mirror to the inner world of the age: to that psychic disintegration which storytellling had not only reflected but was helping to urge on.
原型的重新出现：终结者
Re-emergence of the archetype: The Terminator
我们以一部 20 世纪 80 年代的好莱坞电影《ET》结束了最后一章，它展示了即使在最没有希望的环境中，故事仍然可以在情感层面上恢复与其基本原型目的的联系。乍一看，《终结者》（1984）似乎只是另一个无情地炫耀无端暴力形象的故事。但是，当把它和它的续集《审判日》 （1991）放在一起时，我们可以看到无意识的结构如何最终将这个故事带回到几乎完全原型的解决方案。
We ended the last chapter with a Hollywood film of the 1980s, E.T., which showed how, even in the least promising surroundings, stories can still, on a sentimental level, recover contact with their fundmental archetypal purpose. At first sight The Terminator (1984) might seem just another story relentlessly parading the gratuitous imagery of violence. But, when it is taken together with its sequel, Judgement Day (1991), we can see how the unconscious structures ultimately bring this story back to an almost completely archetypal resolution.
第一部电影以 1984 年一个真正可怕的人物（阿诺·施瓦辛格饰演）抵达洛杉矶开始。从外表上看，他似乎是一个人。事实上，他是一台神奇而精巧的计算机，从近 50 年后的未来被送回当代加利福尼亚州，执行一项致命的任务。1997 年，近乎无所不能的计算机系统“天网”发动了一场核战争，2029 年的世界已是一片废墟。这种自主的超级智能像极权国家一样统治未来世界，并希望彻底消灭人类。但那些幸存下来的人类在他们的领袖约翰·康纳的领导下发动了英勇的抵抗战争。终结者回到 1984 年的任务是寻找康纳的母亲莎拉，并在她的儿子出生之前消灭她。
The first film opens with the arrival in Los Angeles in 1984 of a truly monstrous figure (played by Arnold Schwarzenegger). Outwardly he appears to be a human being. In fact he is a magically ingenious computer, sent back to contemporary California from a time nearly 50 years into the future, on a deadly errand. That world of the year 2029 is in ruins, after a nuclear war launched in 1997 by a near-omnipotent computer system, Skynet. This autonomous super-intelligence runs the future world like a totalitarian state, and wishes to eliminate human beings altogether. But those humans who survive have launched a heroic war of resistance, under their leader John Connor. The mission of the terminator in returning to 1984 is to seek out Connor’s mother, Sarah, and destroy her, before her son can be born.
终结者只被编程做一件事，那就是杀人。它完美地体现了人类心理的“男性”方面，没有任何“女性”成分平衡。从身体上和精神上来说，它似乎都势不可挡，它的设计如此巧妙，即使被砸成碎片，它也能立即恢复到完整的工作状态。但是，像任何计算机一样，它完全缺乏使其优势所必需的女性属性。它完全没有能力去感受，也缺乏直觉的理解，缺乏看到整体的能力。它只能看到它被编程看到的内容。
The terminator is only programmed to do one thing, to kill. It is a perfect representation of the ‘masculine’ aspects of the human psyche without any ‘feminine’ balance. Physically and mentally it seems unstoppable, It is so cleverly designed that, even if smashed to pieces, it can immediately restore itself to full working order. But, like any computer, it completely lacks the feminine attributes which would be necessary to make its strength positive. It is totally incapable of feeling, and it lacks intutive understanding, the ability to see whole. It can only see what it has been programmed to see.
当机器开始追踪电话簿中名叫莎拉·康纳的女性时，它无法看到更广阔的画面，很快就变得很明显。它们只有三个，当然，根据讲故事的三法则，它会冷酷地消灭掉两个，然后最终锁定正确的一个。但此时她有了一个帮手凯尔，另一个来自未来的人物，这次完全是人类，抵抗运动领袖、她尚未出生的儿子派他来保护她。终结者看似无敌，因为它永远不会被摧毁，当然，这只是对许多早期神话和故事中熟悉的原型主题（从赫拉克勒斯的九头蛇到德古拉）的现代术语的改造：怪物的能力，无论多少倍英雄设法砍下它的头或把它砍成碎片，只是为了重组自身并重新表现得像新的一样好（或坏）。因此，这部电影就像《猫和老鼠》中的动画片一样，猫和老鼠反复将对方压扁或炸成碎片，然后又像什么都没发生过一样跳起来。
The machine’s inability to see the wider picture soon becomes apparent when it starts to track down women called Sarah Connor in the telephone book. There are only three of them and, of course, by the storytelling Rule of Three, it coldly wipes out two before finally locking onto the right one. But by this time she has a helper, Kyle, another figure from the future, this time fully human, who has been sent to protect her by the resistance leader, her son, as yet unborn. The Terminator’s seeming invincibility, in that it can never be destroyed, is of course, only a reworking in modern terms of that archetypal motif familiar from so many earlier myths and stories, from Hercules’s Hydra to Dracula: the monster’s capacity, however many times the hero manages to cut off its head or hack it to pieces, simply to re-form itself and reappear as good (or bad) as new. The film thus becomes like one of those Tom and Jerry cartoons in which cat and mouse repeatedly flatten or blow each other to bits, before they jump up again as if nothing has happened.
最终，女主角和凯尔逃脱了足够长的时间，让他让她怀孕，然后当机器逼近并摧毁他们时，进行了最后的噩梦追逐。凯尔以一种英勇的自杀姿态将终结者和他自己炸成了碎片。但机器仍然重新出现，无情地追随女主角穿过巨大的金属压力机。当然，根据二十世纪末的性别逆转，她最终扮演了英雄的原型角色，在千钧一发之际成功击垮了媒体，囚禁并粉碎了超越世界的怪物。维修。就好像珀尔修斯或圣乔治被他们的怪物打败了，只剩下他们的公主来完成它。但至少我们的女主人公现在怀上了未来的英雄，电影以她在墨西哥结束，
Eventually the heroine and Kyle escape just long enough for him to make her pregnant, before a final nightmare chase when the machine closes in to destroy them. Kyle manages in a heroic, suicidal gesture to blow both the Terminator and himself to pieces. But still the machine re-emerges, to crawl relentlessly after the heroine through a gigantic metal press. And it is of course she who, according to the late-twentieth-century’s gender-reversal, ends up playing the archetypal role of the hero, by managing in the nick of time to bring the press crashing down, imprisoning and crushing the monster beyond repair. It is as if Perseus or St George had been overcome by their monsters, leaving their Princesses to finish it off. But at least our heroine is now pregnant with the hero of the future, and the film ends with her in Mexico, driving off as a great storm brews up, full of foreboding for the future.
《审判日》设定在几年后，讲述了男孩约翰是一个年轻的流氓，他出生后被郊区的一个家庭收养，因为他的母亲莎拉被锁在疯人院里。她被认定为精神错乱，因为她喋喋不休地说她儿子的父亲是一个从未来派来让她怀孕的人。两个来自未来的人物再次出现，但这一次都是人形计算机，它们被派去不惜一切代价追踪约翰。
Judgement Day, set some years later, shows the boy John as a young tearaway who had been adopted after his birth by a suburban family because his mother Sarah is locked away in a lunatic asylum. She had been certified as insane because of her babbling on about how her son’s father was a man sent from the future to make her pregnant. Again two figures from the future then appear, but this time both are humanoid computers which have been sent to track John down at all costs.
其中之一是面无表情的施瓦辛格，他从早年的毁灭中重生。当另一个可以呈现任何人类外表的人将自己伪装成警察时，我们应该假设他一定是一个新的保护者人物，被派去从致命的终结者手中拯救年轻的英雄。但在经历了各种相互暴力和混乱的表演之后，我们了解到，他们的角色实际上颠倒了。我们的老朋友终结者现在是“好人”，由成年后的约翰从未来派来，以确保他能够生存下来并扮演他的角色未来作为抵抗领袖的角色。“警察”是一个更加致命的终结者品牌，由极权计算机系统派来确保消灭约翰和他的母亲。这位“善良”的终结者在关键时刻将莎拉从精神病院的对手的毁灭中拯救出来，并与她和男孩一起逃到了墨西哥的一个“嬉皮士”营地（一个典型的“低等境界”，在那里种子救赎的种子注定要发芽）。在这里，他透露他已经被编程去做男孩命令他做的任何事情。约翰的母亲看着他们一起玩耍，感伤地认为他是她儿子从未有过的理想、坚强、保护性的“父亲”；尽管作为一台机器，他当然无法理解人类的感受，例如无法理解他们为什么有时会哭泣。
One is the stony-faced Schwarzenegger, re-born from his earlier destruction. When the other, who can take on the outward appearance of any human being, disguises himself as a policeman, we are meant to assume he must be a new protector-figure, sent to save the young hero from the deadly Terminator. But we then learn, after various exhibitions of mutual violence and mayhem, that their roles are in fact reversed. Our old friend the Terminator is now the ‘goody’, sent from the future by John in his adult self, to ensure that he survives to play his future role as resistance leader. The ‘policeman’ is an even more deadly brand of Terminator, sent by the totalitarian computer system to ensure that John and his mother are eliminated. The ‘good’ Terminator saves Sarah in the nick of time from destruction by his rival in the mental hospital, and escapes with her and the boy to a kind of ‘hippy’ encampment in Mexico (a typical ‘inferior realm’ in which the seeds of redemption are destined to germinate). Here he reveals he has been programmed to do anything the boy orders him to do. John’s mother, watching them play together, sentimentally muses that he is the ideal, strong, protective ‘father’ her son never had; although, being a machine, he of course has no comprehension of human feelings and cannot, for instance, understand why they sometimes cry.
莎拉现在还发现，就在此时此刻，一位名叫戴森的美国黑人杰出科学家正在对超级计算机系统进行最后的修改，该系统最终注定会发动核浩劫并接管世界。她意识到她必须通过摧毁他的研究所来避免这场灾难。尽管她以终结者般的暴力冲进了戴森的家，但她很快就让戴森相信，为了人类的未来，他的项目必须中止。尽管“坏”终结者不可避免地试图阻止他们，而“好”终结者现在已被年轻的约翰命令不要再杀死任何人类，但接下来又是一场可怕的暴力战斗，最终导致研究所被摧毁。
Sarah also now discovers that, at this very moment, a brilliant scientist called Dyson, a black American, is putting the final touches to the super-computer system which is destined eventually to launch a nuclear holocaust and take over the world. She realises she must avert this catastrophe by destroying his research institute. And although she storms into Dyson’s family home with all the violence of a Terminator herself, she soon convinces him that, for the sake of the future of mankind, his project must be aborted. Although the ‘bad’ Terminator inevitably tries to stop them, and the ‘good’ Terminator has now been ordered by young John not to kill any more human beings, there follows yet another luridly violent battle which ends in the institute being destroyed.
这导致了高潮的“噩梦阶段”，并以金属铸造厂结束，“坏”终结者逼近约翰、他的母亲和他的“好”对手。感谢施瓦辛格，“坏”终结者最终被扔进一桶熔化的金属中并被可怕地摧毁。但随后整个故事发生了最后的转折，这表明原型结构的力量再次显现出来。在典型的感伤好莱坞结局中，“好”终结者向约翰和他的母亲解释说，为了拯救人类，他们必须帮助他也被融化。否则，他和他携带的计算机“超级芯片”将足以确保极权主义计算机系统仍然会统治世界。当他向他们告别时，他说他终于明白了人类为何哭泣。作为一台机器，他终于完成了不可能的事，并开始培养人类的感情。这就是为什么他知道他必须无私地牺牲自己的存在来拯救人类。约翰和他的母亲眼里含着泪水，看到他们友好的终结者溶解在熔湖中，并在他身后扔下了重要的芯片。人类被拯救了。自我价值观赢得了胜利。
This leads to the climactic ‘nightmare stage’, conveniently ending in a metal foundry, in which the ‘bad’ Terminator closes in on John, his mother and his ‘good’ rival. Thanks to Schwarzenegger, the ‘bad’ Terminator is eventually plunged into a vat of molten metal and is hideously destroyed. But then comes a last twist to the whole story, which shows the power of the archetypal structure once again reasserting itself. In a typically sentimental Hollywood ending, the ‘good’ Terminator explains to John and his mother that, in order to save mankind, they must help him to be melted down too. Otherwise he and the computer ‘super-chip’ he is carrying would be enough to ensure that the totalitarian computer-system would still take over the world. As he bids his farewell to them, he says he has at last learned why it is that human beings cry. As a machine, he has at last done the impossible and begun to develop human feelings. That is why he knows he must selflessly sacrifice his own existence, to save humanity. With tears in their eyes, John and his mother see their friendly Terminator dissolving into a molten lake, throwing in the vital chip after him. Humanity has been saved. The values of the Self have won the day.
当然，从理性的角度来看，这些说法都站不住脚。如果终结者的黑暗力量真的被摧毁了，那么创造它们的未来超级计算机也被摧毁了。它们从一开始就不可能存在。2029 年的世界永远不会像所描述的那样实现。1997年不会发生核浩劫；没有废墟可供约翰领导他的抵抗斗争；没有约翰·康纳在 2029 年将他的父亲送回 1984 年的世界让他的母亲怀孕。我们在整部电影中一直在观看的男孩约翰根本不可能出生。这些都毫无意义，但这不是重点。
In rational terms, of course, none of this stands up for a moment. If the dark power of the Terminators has truly been destroyed, then so has the supercomputer of the future which created them. They could never have existed in the first place. The world of 2029 could never have materialised in the way it has been described. There would be no nuclear holocaust in 1997; no ruins amid which John could lead his resistance struggle; no John Connor in 2029 to send his father back to the world of 1984 to impregnate his mother. The boy John, whom we have been watching throughout the film, could never have been born. None of this remotely makes sense, but that is not the point.
关键是，通过所有这些无休止的虚构暴力图像，在电影屏幕上有史以来最无情的暴力故事之一（除了《猫和老鼠》卡通片之外），我们看到了两个黑暗版本的终结者是人类自我以及身体和精神力量的“男性”价值观的化身，以最致命、最无情的面目出现。我们将他们视为一个巨大的、无所不知的极权主义力量的代理人，一个“黑暗的自我”，致力于消灭人类。然而最终它们都被摧毁了，仅仅是因为人类自我的这些机械化身之一经历了经典的重生。它的心已经被唤醒，它的眼睛已经睁开来“看到整体”。它已经从“黑暗”转变为“光明”。通过在自我中死去，它已经与真正整体的利益融为一体；那个普遍的、永恒的“自我”，它是整个宇宙背后的生命力。在这种混乱和破坏的黑暗深处，原型再次将自己重新塑造成完整的形象，这是我们想象故事的冲动的核心。
The point is that, through all this endless parade of make-believe violent imagery, in one of the most relentlessly violent stories ever put on a cinema screen (apart from a Tom and Jerry cartoon), we have seen the two dark versions of the Terminator as personifications of the human ego and the ‘masculine’ values of physical and mental power, in their most deadly, remorseless guise. We have seen them as agents of an immense, all-knowing totalitarian power, a ‘dark Self’, dedicated to the extermination of the human race. Yet in the end they have all been destroyed, simply because one of these mechanical embodiments of the human ego has been through a classic Rebirth. Its heart has been awakened, its eyes have been opened to ‘see whole’. It has switched from ‘dark’ to ‘light’. And by dying in its ego-self, it has merged with the interests of the true totality; that universal, eternal ‘Self’ which is the living force behind all the universe. Out of the black depths of such a vision of chaos and destruction, the archetype has again re-formed itself into that image of wholeness which lies at the heart of what our urge to imagine stories is about.
但是，如果《终结者》的结局最终展现了自我赢得胜利的原型，那么从某种意义上说，它总是在故事中赢得胜利，因为，即使在情感层面上，这也是任何故事能够被带入的唯一方式。到适当的解决方案。原型无法被欺骗。如果它被违抗，故事注定会逐渐消失，或者被迫进入某种难以置信的“伪结局”，这会让观众感到好奇地不满意。我们在本章中看过的其他故事都没有能够得出这样一个解决一切问题的结论。范妮·希尔的结局只是一个小小的硬纸板假象；贾斯汀的就像是对整部小说试图否认的自我价值观的最后绝望的反抗姿态；尤利西斯的行为是在自我毫无意义的荒野中最后一次绝望的手淫假象行为。查泰莱夫人在空洞的一厢情愿中逐渐消失。至少在《惊魂记》中，怪物最终以半心半意的方式表现出已被绳之以法。当我们到达布鲁克林的最后出口并拯救自我的时候，自我的价值观已经远远超出了我们的视线，以至于他们的故事几乎没有试图解决。发条橙精神变态的英雄最终似乎确实会发生改变，但最终只会以与开始时相同的可怕状态重新出现。在《德州电锯杀人狂》中，怪物们只是继续生存，就像《沉默的羔羊》和《本能》中一样。这些故事中的任何一个都没有得到妥善解决，因为它们唯一的真正目的是通过一系列自欺欺人的图像来激发观众的幻想，而根据定义，这些图像无法导致解决。
But, if the conclusion of The Terminator finally shows the archetype of the Self winning the day, in one sense it always wins the day in stories, because, even on a sentimental level, this is the only way in which any story can be brought to a proper resolution. The archetype cannot be cheated. If it is defied, the story is doomed just to peter out, or to be forced into some implausible ‘pseudo-ending’ which leaves its audience curiously unsatisfied. None of the other stories we have looked at in this chapter have been able to reach anything like such an all-resolving conclusion. The ending of Fanny Hill is just a little cardboard fake; that of Justine is like a final despairing gesture of defiance at the values of the Self which the whole novel has tried to deny; that of Ulysses is a last forlorn act of masturbatory make-believe in the meaningless wilderness of the ego. Lady Chatterley peters out in vacuous wishful-thinking. At least in Psycho the monster is finally shown, in rather half-hearted fashion, as having been brought to justice. By the time we reach Last Exit to Brooklyn and Saved the values of the Self have passed so far out of sight that their stories scarcely try to resolve at all. In A Clockwork Orange the psychopathic hero does eventually seem about to change, but only to re-emerge at the end in the same monstrous state in which he began. In The Texas Chainsaw Massacre the monsters simply live on, as they do in Silence of the Lambs and Basic Instinct. Nothing in any of these stories is ever properly resolved, because their only real purpose has been to titillate the fantasies of their audiences with a stream of Self-defying images which by definition are incapable of leading to a resolution.
二十世纪末的故事讲述中性与暴力的爆发的唯一真正价值在于，它提供了证据，证明当人类的幻想沿着这条道路冒险时，它会很快陷入死胡同。我们很快就会熟悉同样的重复的陈词滥调图像，机械地在同一个幽闭恐怖的小圈子里旋转，无法引导任何地方，并且完全脱离任何更深层次的意义。但讲故事的想象空间比这无限大，是时候回到更广阔的世界了。
The only real value of this explosion of sex and violence in the storytelling of the late twentieth century lies in the evidence it provides of how quickly, when human fantasy ventures down this path, it runs into a dead end. We soon become familiar with the same repetitive handful of clichéd images, mechanically revolving round in the same claustrophobic little circle, unable to lead anywhere and totally divorced from any deeper meaning. But the realm of the imagination open to storytelling is so infinitely larger than this that it is time to return to the wider world.
第二十八章从约伯记到十九八十四节
对‘独一’的反叛
Chapter Twenty-Eight
Rebellion Against ‘The One’
From Job to Nineteen Eighty-Four
’然后约伯回答主说：‘我知道你不能做所有的事，也知道你不能停止思考……我曾亲耳听说过你，但现在我亲眼目睹了你的存在。看见你了。所以我厌恶自己，在尘土和炉灰中忏悔。” '
‘Then Job answered the Lord, and said: “I know that thou cans’t do every thing, and that no thought can be witholden from thee ... I have heard of thee by the hearing of the ear, but now mine eye seeth thee. Wherefore I abhor myself and repent in dust and ashes.” ’
约伯记，第 1 章 42
Book of Job, Ch. 42
” “那么你认为没有上帝吗？
‘ “Then you think there is no God?”
“不，我想很可能有一个。”
“No, I think there quite probably is one.”
“那么为什么 ...？”
“Then why ...?”
穆斯塔法·蒙德检查了他。“但他对不同的人以不同的方式表现自己。在前现代时期，他以这些书中描述的存在的形式显现。现在 ...”
Mustapha Mond checked him. “But he manifests himself in different ways to different men. In pre-modern days, he manifested himself as the being that’s described in these books. Now ...”
“他现在表现得如何？” 野蛮人问。
“How does he manifest himself now?” asked the Savage.
“嗯，他表现为缺席，就好像他根本不存在一样。” '
“Well, he manifests himself as an absence, as though he weren’t there at all.” ’
奥尔德斯·赫胥黎《美丽新世界》
Aldous Huxley, Brave New World
“没事了，一切都好了，斗争结束了。他已经战胜了自己。他爱老大哥。
‘It was all right, everything was all right, the struggle was finished. He had won the victory over himself. He loved Big Brother.’
乔治·奥威尔，十九岁八十四岁
George Orwell, Nineteen Eighty-Four
在本章和下一章中，我们将首次寻找两个新的情节。虽然如果没有它们，对讲故事模式的调查就不完整，但有充分的理由说明为什么它们不应该包含在构成本书核心的七个中心情节中。我们在下一章中讨论的悬疑小说在过去两个世纪中为现代流行故事中最成功的类型之一——侦探故事——提供了基础。但是，正如我们将看到的，这种类型的故事只是心理“重心”转变的副产品，自浪漫主义兴起以来，这种转变一直是讲故事的特征。
In this chapter and the next we shall be looking for the first time at two new plots. Although no survey of the patterns of storytelling would be complete without them, there are good reasons why they should not have been included among the seven central plots which form the core of this book. The Mystery, which we come to in the next chapter, has over the past two centuries provided the basis for one of the most successful genres in modern popular storytelling, the detective story. But, as we shall see, this type of story only emerged as a by-product of that shift in the psychological ‘centre of gravity’ which has characterised storytelling since the rise of Romanticism.
同样，作为本章主题的情节也不能被描述为理解故事的基础，因为它很少出现。事实上，我们只看三个例子。一种是古老的，取自《圣经》。另外两本是二十世纪最著名的小说。但他们之间的关系比我们在任何其他类型的故事中看到的反映更清晰地揭示了人类心理的一个特别重要的方面。
Similarly the plot which is the theme of this present chapter cannot be described as basic to the understanding of stories, because it only occurs very rarely. Indeed we shall be looking at only three examples. One is ancient, taken from the Bible. The others are two of the best-known novels produced by the twentieth century. But between them they shed a clearer light on a particularly important aspect of human psychology than we see reflected in any other type of story.
这个情节的本质在于，它向我们展示了一个孤独的英雄，他发现自己陷入了一种对某种巨大的、充满怨恨、神秘的反对的状态。权力，对他所生活的世界具有完全的影响力。最初，他越来越觉得自己是对的，神秘力量一定在某种根本上出了问题。但突然间，他面对着那股令人敬畏的无所不能的力量。叛逆的英雄被压垮了。他被迫承认他的观点只是基于对现实的非常有限的主观感知。他最终接受了统治世界和他自己的权力的合法主张。
The essence of this plot is that it shows us a solitary hero who finds himself being drawn into a state of resentful, mystified opposition to some immense power, which exercises total sway over the world in which he lives. Initially he increasingly feels he is right and that the mysterious power must in some fundamental way be at fault. But suddenly he is confronted by that power in all its awesome omnipotence. The rebellious hero is crushed. He is forced to recognise that his view had been based only on a very limited, subjective perception of reality. He ends accepting the power’s rightful claim to rule over the world and himself.
约伯记
The Book of Job
约伯记的故事，可能源自公元前400 年左右的巴比伦原著，与圣经中的其他内容不同。它以一位英雄开始，他被描述为“一个完美而正直的人”，“一个敬畏上帝、远离邪恶的人”。他富有而有权势，是“东方最伟大的人”。他拥有“一个非常大的家庭”，有许多仆人和财产，并且被一个大家庭包围着幸福地生活，其中包括七个儿子和三个女儿。但随后，被描述为“上帝之子”的撒旦向上帝暗示，约伯看起来如此完美的唯一原因是上帝“在他周围筑起了篱笆”。当然，当约伯享受世界所能提供的一切祝福时，他很容易敬畏上帝。但撒但发起了挑战。如果上帝允许他破坏约伯的繁荣，他很快就会使约伯失去完全的忠诚。上帝同意了这一点，条件是不伤害约伯的身体。
The story of Job, probably developed from a Babylonian original around 400 BC, is not like anything else in the Bible. It begins with a hero who is described as ‘a perfect and upright’ man, ‘one that feared God and eschewed evil’. He is rich and powerful, ‘the greatest of all the men in the East’. He has ‘a very great household’, many servants and possessions, and lives happily surrounded by a large family, including seven sons and three daughters. But then Satan, described as a ‘son of God’, suggests to God that the only reason why Job seems so perfect is that God has ‘made a hedge about him’. Of course it is easy for Job to be God-fearing when he enjoys every blessing the world can offer. But Satan throws down a challenge. If God will allow him to undermine Job’s prosperity, he will soon win Job away from his perfect loyalty. God agrees to this, on condition that no harm is done to Job physically.
撒旦有意要摧毁约伯的“国度”。约伯的所有财产都被抢走了。他的仆人都被杀了。一阵大风不知从何而来，摧毁了他大儿子的房屋，并杀死了他所有的儿女。面对所有这些可怕的消息，约伯仍然毫不动摇。他说，‘赐予的是主，收取的也是主。主的名是应当称颂的。第一回合交给上帝。然而，撒但随后获得上帝的许可，可以直接折磨约伯，并给予他尽可能最严重的肉体折磨，只要他不真正杀死约伯。约伯全身长满脓疮，痛苦万分，他最终咒骂自己出生的日子。他开始崩溃了。
Satan sets about destroying Job’s ‘kingdom’ with a will. Job is robbed of all his possessions. His servants are put to the sword. A mighty wind blows up from nowhere, destroying his eldest son’s house and killing all his sons and daughters. In face of all this horrifying news Job remains unshakeable. ‘The Lord giveth’, he says, ‘the Lord taketh away. Blessed be the name of the Lord.’ Round one to God. However, Satan then gets permission from God to afflict Job directly, with the worst possible physical torments, so long as he does not actually kill him. Job develops boils all over his body, so agonising that he finally curses the day he was born. He is beginning to crack.
接下来约伯和他的三个朋友进行了长时间的辩论，他们来安慰他。最初，他似乎已经恢复了对所发生事情的哲学接受。但渐渐地，他开始攻击他的“安慰者”，指责他们只是对他说空话。他沉思着，那些真正邪恶的人，“那些反抗光明的人”，似乎常常能逃脱惩罚，而不受惩罚。他自怜地回忆起，以前他受到众人的祝福和尊重，现在却“被比我年轻的人嘲笑”。他开始列出他一生中所做的所有善事，以表明他是多么不应该遭受这样的可怕命运。为什么上帝抛弃了他？此时，“三个人不再回答约伯，因为他自视为义人”。
Then follows a long debate between Job and three of his friends, who come to comfort him. Initially he seems to have recovered his philosophical acceptance of what has happened. But gradually he turns on his ‘comforters’, accusing them of just preaching empty words at him. He muses on how really wicked people, ‘those that rebel against the light’, so often seem to get away with their crimes, without being punished. He reminisces self-pitifully about how he used to be blessed and respected by all, but now ‘they that are younger than me have me in derision’. He begins to list all the virtuous things he has done throughout his life, to show how little he has deserved his terrible fate. Why has God abandoned him? And at this point ‘the three men ceased to answer Job because he was righteous in his own eyes’.
然后，第四个更年轻的人以利户介入，不仅责备约伯本人，还责备其他三个人，因为他们显然未能让约伯明白。“约伯说话毫无知识。” 他敢于质疑宇宙创造者的行为和智慧，宇宙创造者的力量和知识远远超出任何凡人所能理解的范围。不仅是全部人类罪人，包括约伯。他现在又在罪中加上了“叛逆”。就在这时，上帝以惊人的戏剧性干预，亲自以压倒性力量的演讲“从旋风中”向约伯讲话。“这是谁在没有知识的情况下使忠告变得黑暗？” 他问约伯，“当我奠定大地根基的时候，你在哪里？” 在长篇大论地证明了约伯的全能和全知之后，约伯彻底崩溃了：“我知道你不能做所有的事……我亲耳所闻，你的名字是你的。” 但现在我的眼睛看到了你。因此我厌恶自己，并在尘土和炉灰中忏悔。” 看到他卑鄙的投降，主承认考验已经结束，并祝福“约伯的后期比他的开始更多”。他最终变得比以前富有两倍
Then a fourth, younger man, Elihu, breaks in to reprove not only Job himself but also the three others, because they have so obviously failed in getting Job to understand. ‘Job hath spoken without knowledge.’ He has dared question the actions and wisdom of the creator of the universe, whose power and knowledge are far greater than any mere mortal can begin to understand. Not only are all men sinners, including Job. He has now added ‘rebellion to his sin’. And at this point, in an awesomely dramatic intervention, God himself addresses Job ‘out of the whirlwind’, in a speech of overwhelming power. ‘Who is this that darkeneth counsel without knowledge?’ Where were you, he asks Job, ‘when I laid the foundations of the earth?’ After a long recital demonstrating his omnipotence and omniscience, Job is utterly crushed: ‘I know that thou cans’t do everything ... I have heard of thee by the hearing of the ear; but now mine eye seeth thee. Wherefore I abhor myself and repent in dust and ashes’. Seeing his abject capitulation, the Lord accepts that the test is over and blesses ‘the latter end of Job more than his beginning’. He ends up twice as rich as before, with seven new sons and seven new daughters (‘in all the land were no women found so fair’) and lives happily for many more years until finally coming to a peaceful end, ‘old and full of days’.
较小的黑暗版本：美丽新世界
Lesser dark version: Brave New World
在《约伯记》中无所不能的力量完全表现为“光”。光明与黑暗的象征意义贯穿整个故事。我们毫不怀疑，唯一黑暗且完全有过错的人物就是约伯本人。正是他的自我辩护蒙蔽了他的理解力，使他无法看到整体。故事的中心点是，他的自我必须被粉碎，他的眼睛必须睁开，这样他才能最终看到自己只是一个以自我为中心的小凡人，没有权利将自己视为与全能者分开的人。 ，无所不知的精神创造了他和其他一切，从天上的星星到深海的怪物。从这个意义上说，约伯的故事完全与宇宙背后的永恒力量融为一体。他已经看到了整体。他终于找到了自己内心深处的身份，
In the Book of Job the omnipotent power is presented as entirely ‘light’. The symbolism of light and dark runs through the story. We are never left in any doubt that the only character who is dark and entirely at fault is Job himself. It is his self-justifying ego which blinds his understanding, rendering him unable to see whole. The central point of the story is that his ego has to be crushed and his eyes opened, so he can at last see that he is just a self-centred little mortal creature who has no right to see himself as separate from the all-powerful, all-knowing spirit which created him and everything else, from the stars in heaven to the monsters of the deep. In this sense, Job ends the story entirely at one with the eternal power which lies behind the universe. He has come to see whole. He has at last found his inmost identity, and for this he finds happiness to the end of his days.
二十世纪中叶，当文明经历了难以想象的变化时，两位英国小说家根据这一情节的黑暗版本创作了著名的故事。每个故事都设定在一个想象的未来，展示了一个已经在一个巨大的极权主义权力的控制下的世界，这个极权主义权力自称是光明的，并且要求完全符合其集体的思维和行为方式。每部作品都以一位英雄为中心，他像约伯一样，开始质疑这种力量——直到最后他被压垮屈服。
In the middle decades of the twentieth century, when civilisation had been through unimaginable changes, two English novelists produced well-known stories based on a dark version of this plot. Each is set in an imaginary future, showing a world which has passed under the control of an immense totalitarian power which purports to be light, and which demands total conformity to its collective ways of thought and behaviour. Each centres on a hero who, like Job, sets out to question that power – until in the end he is crushed into submission.
与所有以未来某个时间为背景的故事一样，奥尔德斯·赫胥黎的《美丽新世界》（1932）也是基于将作者所写作的当代世界的某些特征投射到未来。1对他来说，这些都是现代西方文明的特征，这些特征在 20 年代变得越来越突出，它的技术创新、物质舒适和宽松的性行为规范。他的“美丽新世界”的居民生活在伦敦，周围是一系列巨大、闪亮的混凝土摩天大楼，坐落在树林中（沿着勒·柯布西耶对未来“光芒四射的城市”的当代愿景）。他们受到药物和无意识洗脑的影响，认为自己完全幸福。他们的意识完全由国家塑造，通过在他们睡觉时植入他们潜意识的口号来塑造。他们是从试管中诞生的，这样家庭生活就被彻底消除了。任何人都应该有“父亲”和“母亲”的想法被认为是淫秽的。他们已经习惯于讨厌任何与自然有关的事情。正如他们所习惯的那样，世界完全是由人类及其技术塑造的，正如历史已被重写以支持这种观点一样。这个社会的最终犯罪是其任何成员为自己思考或感受。他们决不能独处，除非进行不间断的、乱交的性行为。没有人必须与其他人建立持久的关系。
Like all stories set in some future time, Aldous Huxley’s Brave New World (1932) is based on projecting into the future certain characteristics of the contemporary world in which the author was writing.1 In his case these were features of modern Western civilisation which had become increasingly prominent in the 1920s, with its technological innovations, material comfort and loosening codes of sexual behaviour. The inhabitants of his ‘brave new world’ live in a London dominated by a series of huge, shining concrete skyscrapers, set amid trees (along the lines of Le Corbusier’s contemporary vision of the ‘radiant City’ of the future). They are conditioned by drugs and by unconscious brainwashing to see themselves as entirely happy. Their consciousness is shaped entirely by the state, through slogans drilled into their subconscious while they sleep. They are born from test tubes, so that family life has been completely eliminated. The idea that anyone should have a ‘Father’ and a ‘Mother’ is regarded as obscene. They have been conditioned to hate anything to do with nature. The world, as they are conditioned to see it, is entirely shaped by man and his technology, just as history has been rewritten to support this view. And the ultimate crime in this society is for any of its members to think or feel for themselves. They must never be alone, except to engage in incessant, promiscuous sex. No one must form a lasting relationship with anyone else.
这个勇敢的新世界秩序所代表的是人类自我以无私整体的名义集体化，只不过代表真正自我的一切都被无情地排除在外。其公民参加准宗教仪式，以牢固地融入集体身份。最重要的是，将他们联系在一起的是自我的身心愉悦的集体化，因为国家安排他们享受无限量的性、毒品和摇滚乐（或其当代等价物）。这是在以前的教堂举行的，例如威斯敏斯特教堂，现在改造成相当于“迪斯科舞厅”的社会中心圣地。
What this brave new world order represents is a collectivising of the human ego in the name of a selfless totality, except that everything representing the genuine Self has been ruthlessly excluded. Its citizens engage in quasi-religious ceremonies to keep them securely bonded into the collective identity. And what above all binds them together is the collectivising of the physical and mental pleasures of the ego, as the state arranges for them to enjoy an unlimited supply of sex, drugs and rock ’n’ roll (or its contemporary equivalent). This is performed in what had formerly been churches, such as Westminster Abbey, now converted into the equivalent of ‘discos’ as society’s central shrines.
故事开始时，主人公伯纳德·马克思开始对这种极权主义秩序进行最终的进攻，因为他对所有让他顺从的手段感到越来越不满。他邀请一位女同事和他一起参观北美印第安人居住的“新墨西哥野人保留地”，这是世界上少数几个仍然允许自然和人类在“野生”状态下生存的地方之一。在这里，在这个“低等领域”，他遇到了约翰，通常被描述为“野蛮人”。这个年轻人是一位英国白人母亲的儿子，当她从伦敦短暂访问来到这里时，她失踪并被遗弃，他在当地印第安人中出生和长大。约翰，“野蛮人”，代表了世界国家在其墨守成规的臣民中根除和镇压的一切。他热爱自然。他感受到了真诚、无私的个人情感，就像他对现在腐朽、放荡的母亲的爱一样。他通过阅读莎士比亚的戏剧（外界完全禁止）来自学。简而言之，他就是他自己。
The story begins when its hero, Bernard Marx, begins to commit the ultimate offence against this totalitarian order by feeling increasingly resentful of all the techniques used to make him conform. He invites a female colleague to join him on a visit to the ‘New Mexico Savage Reservation’, inhabited by North American Indians, one of the few places in the world where nature and human beings are still allowed to survive in a ‘wild’ state. Here, in this ‘inferior realm’, he meets John, generally described as ‘the Savage’. This young man is the son of an English white mother who had been lost and abandoned when she was brought here on a fleeting visit from London, and he has been born and raised among the local Indians. John, ‘the Savage’, represents everything the World-State has eradicated and suppressed in its conformist subjects. He loves nature. He feels genuine, selfless personal emotions, like his love for his now decaying, dissolute mother. He has educated himself by reading the plays of Shakespeare (totally banned in the outside world). He is, in short, himself.
马克思被允许将野蛮人和他的母亲带出这个“低等境界”，回到伦敦的“上流”世界，在那里约翰对他所认为的一切对人性的可怕愚昧感到震惊。他认为这里的居民已经沦为梦游僵尸。在这一点上，野蛮人对这个社会的“统治意识”已经变得多么有限的认识变得更加清晰，他接替了伯纳德·马克思成为故事中真正的英雄。最后，相当于约伯与上帝的对抗，他和马克思被传唤去采访权力极大的穆斯塔法·蒙德（Mustapha Mond），他是普世极权国家的世界控制者之一。
Marx is permitted to bring the Savage and his mother out of this ‘inferior realm’ back to the ‘above the line’ world in London, where John is horrified by everything he sees as being a hideous stultification of human nature. He sees its inhabitants as having been reduced to no more than sleep-walking zombies. At this point, so much clearer is the Savage’s perception of how limited the ‘ruling consciousness’ of this society has become, that he takes over from Bernard Marx as the story’s real hero. Finally, in the equivalent of Job’s confrontation with God, he and Marx are summoned for an interview with the immensely powerful Mustapha Mond, one of the World Controllers of the universal totalitarian state.
这个看似仁慈、准神般的人物以慈父般的方式解释了他也曾经如何受到诱惑去反抗新的世界秩序并独立思考。他和野蛮人甚至交换莎士比亚的名言。但世界主宰者现在已经开始认识到一个更深刻、更广泛的真理：人类的最高利益是一个完全稳定、有序的社会，在这个社会中，每个人不假思索地、快乐地遵守集体刻板印象。在这样的社会中，家庭生活、伟大的艺术或任何更深层次的人类情感都没有立足之地，因为这些都是个人主义的、破坏性的和危险的。必须不惜一切代价维护新世界秩序的完美统一。2
This seemingly benevolent, quasi-god-like figure explains in a fatherly way how he too had once been tempted to rebel against the new world order and to think for himself. He and the Savage even swap quotations from Shakespeare. But the World Controller has now come to appreciate the deeper and wider truth that the highest good for mankind is a completely stable, orderly society in which everyone unthinkingly and happily conforms to the collective stereotype. There can be no place in such a society for family life, great art or any deeper human feelings, because these are individualistic, disruptive and dangerous. The perfect unity of the new world order must at all costs be preserved.2
这就是为什么蒙德规定马克思必须被送往海外一个为此类持不同政见者保留的偏远岛屿作为战俘营。与此同时，故事中真正的英雄野蛮人被允许离开伦敦，住在萨里空旷而废弃的乡村的一个偏僻的地方。在这里，他成为了一个旅游胜地，被成群结队的记者、胶卷摄像机和教练队伍围困，像某种奇怪的野生动物一样盯着他，很快他就无法再接受这个美丽的新世界了，于是上吊自杀了。
This is why Mond rules that Marx must be sent overseas to one of the remote islands reserved as prison camps for such dissidents. The story’s real hero, the Savage, is meanwhile allowed to leave London, to live in a lonely spot in the empty and abandoned countryside of Surrey. Here he becomes a tourist attraction, besieged by hordes of journalists, film cameras and coach parties, peering at him like some bizarre wild animal, Soon he can take no more of this brave new world and hangs himself.
完整“黑暗版”：十九点八十四分
Full ‘dark version’: Nineteen Eighty-Four
至少在赫胥黎的版本中，马克思和野蛮人最终都没有被压垮，自愿屈服于极权主义权力。为了对乔布斯的故事进行完全黑暗的反转，我们必须去看看乔治·奥威尔在 1950 年去世前不久写的小说。《十九八十四》（1984 年）向不久的将来投射了一幅破败、被炸弹破坏的后世界的图景。第二次世界大战期间的伦敦，奥威尔生活过，但现在由一个比赫胥黎的极权主义政权更黑暗的极权政权统治，其基础主要是当时斯大林苏联的共产主义政权。
At least in Huxley’s version neither Marx nor the Savage end up being crushed into willing submission to the totalitarian power. For the full dark inversion of the Job story we must go to the novel written by George Orwell shortly before his death in 1950. Nineteen Eighty-Four (1984) projects into a nearer future a picture of the rundown, bomb-damaged post-World War Two London in which Orwell lived but now ruled by a totalitarian regime far blacker than Huxley’s, based more than anything on what was then the contemporary Communist regime of Stalin’s Soviet Union.
正如赫胥黎的版本一样，伦敦被少数巨大的摩天大楼所占据。但这些部门是受到斯大林莫斯科政府的启发，“党”通过这些部门将其无情的意志强加给胆怯的公民。奥威尔的“美丽新世界”是噩梦，而赫胥黎的快乐主导的“乌托邦”则是梦想版本。奥威尔的世界里没有人幸福。国家通过每个房间的电屏监视着人们，他们极度缺乏食物，永远担心自己的生命安全，夜以继日地承受着无情的压力，要像僵尸一样遵守党强加给他们的公民模式。他们必须加入对敌人的集体仇恨，并对党的遥远而神秘的斯大林式领导人“老大哥”形象表现出不断的集体热爱。与赫胥黎的状态相反，家庭生活仍然是允许的，但只是为了国家可以鼓励孩子监视他们的父母。性只被允许作为一种繁殖手段，一种“对党的责任”，而不是作为一种快乐的源泉。
As in Huxley’s version, London is dominated by a handful of huge skyscrapers. But these, inspired by those of Stalin’s Moscow, are the ministries through which the ‘Party’ imposes its ruthless will on the cowed citizens. Orwell’s ‘brave new world’ is the nightmare counterpart to that of which Huxley’s pleasure-dominated ‘Utopia’ had been the dream version. No one in Orwell’s world is happy. Spied on by the state through telescreens in every room, people are desperately short of food, perpetually fearful for their lives, and under relentless pressure night and day to conform like zombies to the model of citizenship imposed on them by the Party. They must join in collective hate of its enemies, and demonstrate unceasing collective love for the figure of the Party’s remote, mysterious Stalin-like leader ‘Big Brother’. In contrast to Huxley’s state, family life is still permitted, but only so that children can be encouraged by the state to spy on their parents. Sex is allowed only as a means of reproduction, a ‘duty to the Party’, never as a source of pleasure.
故事再次开始于主人公温斯顿·史密斯（Winston Smith）的日常任务是在共产党不断改写历史的过程中发挥微不足道的作用，他发现自己对这个声称影响他所生活的世界各个方面的极权主义权力提出了质疑。在“老大哥”慈父般的指导下，变得完全仁慈，“充满力量和神秘的平静”（“我的救世主”当一位女士在电幕上看到他时喊道）。世界上所有的邪恶和黑暗都集中在阴暗的叛徒戈德斯坦的身影和国家的外部敌人身上。但温斯顿越来越意识到整个系统是建立在谎言之上的，是对事实的完全黑暗的颠倒。然后他偷偷地遇见并爱上了女主人公朱莉娅，他最初以为她是一名狂热的党员，但后来她变成了一个勇敢、有爱心的人。阿尼玛人物，在知道如何逃避党的控制方面比他自己更加实际和聪明。他们对彼此的秘密承诺是他们对政权的最终反抗，当他们进一步陷入反对政权所代表的一切时，他们开始相信，一个看似明智、强大的“核心党”成员，O '布莱恩暗暗同情他们的信仰。奥布莱恩鼓励他们这样做，并给了他们一本书，解释了为什么党实际上是“黑暗的”，而戈德斯坦是“光明的”。
Again the story begins when its hero, Winston Smith, whose daily task is to play a tiny part in the Party’s incessant rewriting of history, finds himself questioning this totalitarian power which claims sway over every aspect of the world he lives in. It purports to be wholly benign, under the fatherly guidance of Big Brother, ‘full of power and mysterious calm’ (‘My Saviour’ shouts one woman when she sees him on the telescreen). All evil and darkness in the world is concentrated in the figure of the shadowy traitor Goldstein and in the country’s external enemies. But Winston becomes increasingly aware that the whole system is built on lies, a total dark inversion of the truth. He then surreptitiously meets and falls in love with the heroine, Julia, whom he had initially assumed was a fanatical Party member, but who then becomes a brave, loving anima-figure, much more practical and ingenious than himself in knowing how to evade the Party’s controls. Their secret commitment to each other is their ultimate act of disobedience to the regime, and as they are drawn ever further into opposition to all it stands for, they come to believe that a seemingly wise, powerful member of the ‘Inner Party’, O’Brien, is secretly sympathetic to their beliefs. O’Brien encourages them in this, and gives them a book which explains how the Party is in fact ‘dark’ and Goldstein ‘light’.
他们似乎正处于令人惊讶的、赋予生命的启示的边缘。但温斯顿和朱莉娅突然被捕，成为全知党的囚犯。就像约伯与上帝面对面，或者马克思与野蛮人接受世界主宰者的采访一样，他们面对的是奥布莱恩本人，而他原来是思想警察的高级成员。在仁爱部的牢房里，奥布莱恩用肉体折磨压垮了温斯顿，并向他展示了党如何比他想象的更加无所不能、无所不能。多年来他告诉温斯顿：
It seems they are on the edge of an astonishing, life-giving revelation. But suddenly Winston and Julia are arrested, prisoners of the all-seeing Party. Like Job when brought face to face with God, or Marx and the Savage in their interview with the World Controller, they are confronted by O’Brien himself, who turns out to be a senior member of the Thought Police. In the cells of the Ministry of Love O’Brien crushes Winston by physical torture and shows him how the Party is more all-powerful and all-seeing than he had ever imagined. For years he tells Winston:
'我一直在看着你。现在，转折点已经到来。我会救你的。我会让你变得完美。
‘I have watched over you. Now the turning point has come. I shall save you. I shall make you perfect.’
奥布莱恩告诉史密斯他有：
O’Brien tells Smith he has:
“谦逊失败……你不会做出屈服的行为……你相信现实是客观的、外在的……但现实只存在于人类的头脑中。”
‘failed in humility ... you would not make the act of submission ... you believe that reality is something objective, external ... but reality exists only in the human mind.’
目的是“治愈”一个有这样幻想的人：
The aim is to ‘cure’ a man of such illusions:
“我们皈依他……我们烧掉他身上所有的邪恶和幻想……我们把他带到我们身边……全心全意。”
‘We convert him ... we burn all evil and illusion out of him ... we bring him over to our side ... heart and soul.’
温斯顿问老大哥是否会死。'当然不是'。到现在为止，他就像约伯一样，身体已经沦为一个腐烂的“污秽袋”。他指责奥布莱恩对他做了这样的事。“不，温斯顿，你把自己简化成了这样。这就是你们在与党作对时所接受的。” 虽然温斯顿现在接受了老大哥的权威，但他仍然讨厌他。最后考验的时刻到了。奥布莱恩说：“仅仅服从老大哥是不够的，你必须爱他。” 温斯顿必须面对世界上他最害怕的事情（“他站在一堵黑暗的墙前，而墙的另一边是一些难以忍受的东西，一些太可怕而无法面对的东西”）。这种磨难的本质，因为它是如此的个人化，对于每个受害者来说都是不同的。在温斯顿的例子中，看到的是巨大而饥饿的老鼠准备咬他的脸。他大声喊道，他们应该对朱莉娅而不是他自己这样做。他犯下了最终的背叛。他已经否认了他的阿尼玛。他已经屈服于宇宙的黑暗力量。他可以被释放，以一个破碎的形象，在一种不稳定的状态中短暂地度过他的日子。有一天，他遇见了朱莉娅。她也背叛了他，是一个破碎的幽灵。温斯顿等待着未知的那一天，他将被传唤接受枪决。与此同时，他感到自己与党及其所代表的一切融为一体。故事结束时，“他战胜了自己”。他爱“老大哥”。
Winston asks whether Big Brother will ever die. ‘Of course not’. By now, like Job, he has been physically reduced to a rotting ‘bag of filth’. He accuses O’Brien of having done this to him. ‘No Winston, you reduced yourself to it. This is what you accepted when you set yourself up against the Party’. Although Winston now accepts Big Brother’s authority, he still hates him. The time has come for the final ordeal. ‘It is not enough to obey Big Brother’, says O’Brien, ‘you must love him.’ Winston must be exposed to that which he fears most in all the world (‘he was standing in front of a wall of darkness, and on the other side of was something unendurable, something too dreadful to be faced’). The nature of this ordeal, because it is so profoundly personal, is for each victim different. In Winston’s case, it is the sight of giant, ravenous rats ready to gnaw his face. He shouts out that they should do it to Julia rather than himself. He has committed the ultimate betrayal. He has disowned his anima. He has submitted to the universal Dark Power. He can be released, to live out his days for a short time as a broken figure, in a kind of limbo. One day he meets Julia. She too has betrayed him and is a broken ghost. Winston waits for the unknown day when he will be summoned to be shot. In the meantime, he feels himself at one with the Party and all it stands for. As the story ends, ‘he had won the victory over himself. He loved Big Brother’.
黑暗的自我
The Dark Self
在前面的一章“无处可去”中，我们探讨了二十世纪讲故事反映整体性核心原型“自我”消失的一种方式。人类心理的构成如此，如果其任何原型成分不再出现在意识层面上，这并不是因为它们已经完全消失。他们退回到无意识中，以某种黑暗或“低等”的形式重新出现。在贝克特的《等待戈多》中，我们看到了自我原型如何在舞台外神秘的“戈多”身上施展其魔力。
In an earlier chapter, ‘Going Nowhere’, we looked at one way in which twentieth-century storytelling reflected the disappearance of that centrally important archetype of totality, the Self. The human psyche is so constituted that if any of its archetypal components no longer appear on a conscious level, this is not because they have vanished altogether. They regress into the unconscious, to re-emerge in some dark or ‘inferior’ form. In Beckett’s Waiting for Godot we saw how the archetype of the Self casts its spell over the entire play in the mysterious off-stage presence of ‘Godot’.
在人类历史的大部分时间里，这种原型在与世界宗教相关的象征主义和神话中得到了最明显的体现。他们的中心目的是让人类接触到他们心灵中更深层的成分，这让他们对某种远远超越他们个人自我存在的事物产生归属感。当达到这个水平时，它就赋予了生命意义和目的感。一种联系感，不仅是与其他人和整个世界的联系，而且是与完全超越时间和存在的维度的联系。
Through most of human history, this archetype was nowhere more obviously represented than in the symbolism and myths associated with the world’s religions. Their central purpose was to bring human beings into contact with a deeper component in their psyche, which gave them the sense of belonging to something far transcending their own individual ego-existence. Where this level could be reached, it gave a sense of meaning and purpose to life; a sense of connection, not just to other people and all the world but to a dimension beyond time and existence altogether.
我们看到这个原型是如何在约伯的故事中发挥作用的，以及在宇宙背后全能、全知的精神的出现下，约伯如何被压垮，感到自己完全微不足道。到目前为止，无论他多么意识到他可能试图在自己的生活中拥有某种“更高的权力”，并且意识到需要使自己的生活符合他所想象的由该权力决定的模式，他仍然只是能够从自己的自我意识的小泡沫中感知世界。但现在这个泡沫已经破灭，这表明他真正理解的东西是多么的少。与这个创造了宇宙每一个细节的超级心智的威严相比，他一无所知。然而事实上，他是这个创造的一部分，他是其复杂目的的一部分，并且它在某种程度上与他的存在有关，这让约伯有一种感觉，尽管他本身什么都不是，但他也认同于比他自己无限伟大的东西。他是整体的一部分，“独一”。因此，我们看到了这个原型可以产生的巨大力量。但如果它最初的目的是光，那么它也可以被“暗反转”所取代，并转向截然不同的目的。这就是我们在另外两个故事中看到的。因此它也可以被“暗反转”接管并转向截然不同的目的。这就是我们在另外两个故事中看到的。因此它也可以被“暗反转”接管并转向截然不同的目的。这就是我们在另外两个故事中看到的。
We see how this archetype was called into play by the story of Job and how, in the appearance of the all-powerful, all-knowing spirit behind the universe, Job is overwhelmed into a sense of his own utter insignificance. Up to this point, however aware he may have tried to be of some ‘higher power’ in his life, and of the need to conform his own life with what he imagines to be a pattern dictated by that power, he has still only been able to perceive the world from within his own little bubble of ego-consciousness. But now this bubble has been shattered, showing him how little he has really understood. Compared with the majesty of this super-mind which has created every last, minute detail of the universe, he knows nothing. Yet the very fact that he is part of this creation, that he is part of its complex purposes and that it is somehow concerned with his existence, gives Job a sense that, although in himself he is nothing, he is also identified with something infinitely greater than himself. He is part of the totality, ‘the One’. We thus see the immense power which this archetype can generate. But if its original purpose is light, so also it can be taken over by the ‘dark inversion’and turned to very different ends. Such is what we see in the other two stories.
二十世纪自我原型最明显的表现就是它与其他原型的命运相同。它被自我接管了，向外投射。曾经的宗教渴望整体感，成为一个包罗万象的统一体的一部分，现在有了政治表现：最明显的是通过二十世纪强加给大部分人类的极权主义政治制度。极权主义制度的全部要点在于，它试图控制生活在其统治下的个人生活中的一切。它之所以如此，正是因为那些创造它的人已经被那种无意识的整体原型所占据，这种原型现在被投射到社会组织方式的每一个细节上。但这并不是以真正的整体意识的名义进行的，而只是作为一种集体化的自我主义形式的表达，代表着一群人试图将自己的权力和控制强加于其他人。纳粹意识形态声称有超凡的理由将德国民族主义和雅利安种族至上的集体意志强加于世界。更强大的是，共产主义声称其希望以无产阶级和受压迫群众的名义建立新的世界秩序的愿望具有普遍性。这些极权主义意识形态无意识地受到整体原型的驱动，但只是以整体的一部分的名义：正如他们如何谈论“党”作为其集体意志的最高体现一样，无意识地揭示了“部分”主张整体。奥威尔在《奥威尔》中如此敏锐地描绘了这种现象的本质。共产主义声称具有普遍性，因为它希望以无产阶级和被压迫群众的名义建立一个新的世界秩序。这些极权主义意识形态无意识地受到整体原型的驱动，但只是以整体的一部分的名义：正如他们如何谈论“党”作为其集体意志的最高体现一样，无意识地揭示了“部分”主张整体。奥威尔在《奥威尔》中如此敏锐地描绘了这种现象的本质。共产主义声称具有普遍性，因为它希望以无产阶级和被压迫群众的名义建立一个新的世界秩序。这些极权主义意识形态无意识地受到整体原型的驱动，但只是以整体的一部分的名义：正如他们如何谈论“党”作为其集体意志的最高体现一样，无意识地揭示了“部分”主张整体。奥威尔在《奥威尔》中如此敏锐地描绘了这种现象的本质。十九点八十四分。
The most obvious expression of the Self archetype in the twentieth century was that it shared the same fate as other archetypes. It was taken over by the ego and projected outwards. That once-religious hunger for a sense of totality, to be part of a single all-embracing unity, took on political expression: most notably through those totalitarian political systems which in the twentieth century came to be imposed over large parts of mankind. The whole point of a totalitarian system is that it seeks to control everything in the lives of the individuals who live under it. And it does so precisely because those who create it have become possessed by that unconscious archetype of totality which is now projected onto every detail of the way society is organised. But this is not done in the name of a genuine sense of totality, but only as the expression of a collectivised form of egotism, representing the attempt by one group of human beings to impose their power and control over the rest. The Nazi ideology claimed transcendent justification for imposing on the world the collective will of German nationalism and Aryan racial supremacy. Still more powerfully, Communism claimed universality for its wish to create a new world order in the name of the proletariat, the downtrodden masses. These totalitarian ideologies were unconsciously driven by that archetype of wholeness, but only in the name of part of the whole: as was unconsciously revealed in how they spoke of ‘the Party’ as the supreme embodiment of their collective will, the ‘part’ laying claim to the whole. It was the nature of this phenomenon which Orwell portrayed so acutely in Nineteen Eighty-Four.
共产主义的吸引力恰恰在于它在多大程度上受到了人类整体形象的启发，而奥威尔在“老大哥”这个全智、仁慈、几乎神一样的父亲形象中体现了这一形象。显然，共产主义代表了力量、权力、纪律和秩序等“线上”的男性属性。但它也声称以无私的“女性”价值观的名义说话，需要代表所有“线下”的人而奋斗，以保护被压迫者。在提出其理想社会主义社会的乌托邦愿景时，所有的利己主义和剥削都被废除，所有成员都可以完全团结地走向“光辉的未来”，它投射了一个全面实现的人类的普遍形象。 ：身体、头脑、心灵和灵魂的完美平衡。但这只不过是一个巨大的虚构行为。共产主义没有真正的平衡。当然，它代表着权力和组织。但只是作为集体利己主义的表现，强加于他人。它根本没有赋予生命的女性特质。这是完全没有心、没有灵魂的。它代表了被“黑暗女性”控制的“黑暗男性”，以及伪装成自我的自我。
The appeal of Communism lay precisely in the extent to which it was inspired by an image of human totality, personified by Orwell in the all-wise, benevolent, almost god-like father figure of Big Brother. Obviously Communism represented the ‘above the line’ masculine attributes of strength, power, discipline and order. But it also claimed to speak in the name of the selfless ‘feminine’ values, the need to fight on behalf of all those ‘below the line’, to protect the oppressed. In holding out its Utopian vision of the ideal Socialist society, in which all egotism and exploitation have been abolished and all its members can march towards the ‘radiant future’, bound together in total unity, it projected a universal image of fully-realised humanity: body, mind, heart and soul in perfect balance. But this was no more than a colossal act of make-believe. There was no genuine balance to Communism. Certainly it represented power and organisation. but only as expressions of collectivised egotism, to be imposed on others. It had no life-giving feminine qualities at all. It was utterly heartless and soulless. It represented the ‘dark masculine’ in the grip of the ‘dark feminine’, the ego masquerading as the Self.
这就是为什么奥威尔的小说仍然如此强大，因为即使不使用这样的语言，它也如此准确地捕捉到了这一切。温斯顿·史密斯逐渐认识到，这个体系完全是一个谎言，是对事实的黑暗颠倒，正是这一点将他与朱莉娅联系起来，朱莉娅是阿尼玛形象，代表着本能、个人感觉以及体系无法容忍的一切。但最终，被残酷对待的“黑暗男性气质”进行了反击，将他们压垮，让他们屈服，消灭了他们的感情，他们对真理的渴望，以及他们内心最后的、无私的“女性”品质。从这个意义上说，作为《约伯记》的完全颠倒，它可以被视为有史以来最黑暗的故事之一。
This is why Orwell’s novel is still so powerful, because, without using such language, it captures all this so accurately. Winston Smith comes to recognise that the system is all a lie, a dark inversion of the truth, and it is this which connects him to Julia, the anima-figure who represents instinct, individual feeling, everything the system cannot tolerate. But in the end the brutalised ‘dark masculine’ hits back, crushing them into submission, stamping out their feelings, their desire for truth, every last, selfless ‘feminine’ quality within them. In this sense, as a complete inversion of the book of Job, it can be read as one of the darkest stories ever conceived.
奥威尔在 1948 年写作时，当时斯大林的暴政正处于鼎盛时期，他不知道的是，仅仅几十年后，那个时候就会到来：整个这种特殊的暴政体系将会崩溃，其原因正是他在小说中直观地理解的。在整个苏维埃帝国，从俄罗斯的索尔仁尼琴和萨哈罗夫，到波兰的瓦文萨和团结工会运动，每个人都会看到，以党为代表的统治意识的主张与基于冷漠、无情、没有灵魂的现实并不相符。他们在周围看到的都是谎言。最终，从“线下”开始，他们会发展出足够的内在力量，将整个腐烂、腐败的“线上”结构摧毁成废墟。从这个意义上说，温斯顿·史密斯最终注定会获胜：因为，就像《美丽新世界》中的野蛮人一样，他代表了自我，即人类个体身份的核心，它永远不能被完全压制。最终，它总会以某种方式重新出现，因为编入人类心灵的原型无法被欺骗，也永远不会消亡。3
What Orwell was not to know, since he was writing in 1948 when Stalin’s tyranny was at its height, was that the time would come, only a few decades later, when the whole of this particular system of tyranny would come tumbling down, for precisely the reasons he intuitively grasped in his novel. All over the Soviet empire, from Solzhenitsyn and Sakharov in Russia to Lech Walesa and the Solidarity movement in Poland, individuals would see how the claims of that ruling consciousness represented by the Party did not match up to the bleak, heartless, soulless reality based on lies they saw all around them. Eventually, from ‘below the line’, they would develop sufficient inner strength to bring the entire, decayed, corrupt, ‘above the line’ structure crashing in ruins. In this sense Winston Smith was destined ultimately to win: because, like the Savage in Brave New World, he represented that Self, that core of individual human identity, which can never be wholly suppressed. In the end, it will always somehow re-emerge, because the archetypes programmed into the human psyche cannot be cheated and can never die.3
第二十九章
谜团
Chapter Twenty-Nine
The Mystery
“每个人都依次受到怀疑，街道上到处都是潜伏的特工，我们无法知道他们的效忠对象。没有人看起来是无罪的，没有人看起来是安全的；然后，突然间，凶手被发现了，然后——松了口气！– 他毕竟不是像你或我这样的人。”
‘Everybody is suspected in turn, and the streets are full of lurking agents whose allegiances we cannot know. Nobody seems guiltless, nobody seems safe; and then, suddenly, the murderer is spotted, and – relief! – he is not, after all, a person like you or me. He is a villain – known to the trade as George Gruesome – and he has been caught by an infallible Power, the supercilious and omniscient detective, who knows exactly where to fix the guilt.’
埃德蒙·威尔逊，“人们为什么读侦探小说？”，《纽约客》，1944 年
Edmund Wilson, ‘Why do people read detective stories?’, The New Yorker, 1944
” “你看到什么线索了吗？
‘ “Do you see any clue?”
（夏洛克·福尔摩斯）“你为我提供了七个，但当然我必须先测试它们，然后才能宣布它们的价值。”
(Sherlock Holmes) “You have furnished me with seven, but of course I must test them before I can pronounce upon their value.”
“你怀疑某人？”
“You suspect someone?”
（福尔摩斯）“我怀疑自己——”
(Holmes) “I suspect myself – ”
“什么？”'
“What?”’
阿瑟·柯南·道尔的《海军条约》
The Naval Treaty by Arthur Conan Doyle
过去两个世纪里，故事讲述方式的心理革命带来了一个特别令人着迷的后果，那就是它催生了一种全新的情节类型。此外，它还为现代世界提供了最流行的讲故事的形式之一。
One particularly fascinating consequence of the psychological revolution in the way stories are told over the past two centuries is the way it has given rise to a wholly new type of plot. Furthermore, it is one which has provided the modern world with one of its most popular forms of storytelling.
基于神秘事件的故事的本质是，它以提出一个谜语开始，通常是通过揭示一些令人费解的犯罪行为来实现。我们的兴趣集中在其核心人物为解开这个谜团所做的努力，例如追查犯罪责任人的身份。显然，自从埃德加·爱伦·坡、威尔基·柯林斯和柯南·道尔等十九世纪作家首次提出侦探小说以来，这一点在侦探小说中得到了最熟悉的表达。
The essence of a story based on the Mystery is that it begins by posing a riddle, usually through the revelation that some baffling crime has been committed. Our interest then centres round the efforts of its central figure to unravel this riddle, as by tracking down the identity of the person responsible for the crime. Obviously this has found its most familiar expression in detective stories, ever since these were first developed by such nineteenth-century writers as Edgar Allan Poe, Wilkie Collins and Conan Doyle.
以“侦探”查明谁对犯罪负责为中心的故事可以追溯到比十九世纪更早的历史。两个最早记录的例子出现在次经中，这是旧约的半未经授权的附录。苏珊娜、贝尔和龙的历史可以追溯到公元前一世纪或二世纪。其中第一部讲述了一位纯洁美丽的年轻已婚妇女苏珊娜如何赤身裸体私下到她的花园洗澡。两位法官，都是非常受人尊敬的老人，一直在暗中监视她，并变得“色欲旺盛”。他们向苏珊娜发出最后通牒。除非她同意“与他们同眠”，否则他们会告诉当局，他们看到她在花园里与一名年轻人通奸，她将因此被判处死刑。苏珊娜认为接受他们的提议是更糟糕的命运比死亡。于是，那些心怀报复的老人就做出了虚假报告。每个人，包括她的丈夫，都感到震惊，她因生命受到审判。因为这两位法官都是受人尊敬的公民，所以针对她的案件似乎无法回答。
Stories which centre on a ‘detective’ working out who was responsible for a crime go very much further back in history than the nineteenth century. The two earliest recorded examples appear in the Apocrypha, the semi-unauthorised appendix to the Old Testament. The History of Susanna and Bel and the Dragon have been ascribed to the first or second centuries BC. The first of these tells of how a pure and beautiful young married woman, Susanna, went privately into her garden to bathe, naked. Two judges, eminently respectable old men, have secretly been spying on her and become ‘inflamed with lust’. They confront Susanna with an ultimatum. Unless she agrees to ‘lie with them’, they will tell the authorities that they have seen her committing adultery in the garden with a young man, a crime for which she would be punished by death. Susanna views accepting their proposition as a fate worse than death. The vengeful old men therefore make their false report. Everyone, including her husband, is appalled, and she is put on trial for her life. Because the two judges are such respected citizens, the case against her seems unanswerable.
苏珊娜即将被判处死刑，年轻的英雄丹尼尔出声，要求有机会分别盘问两名原告。他只问他们每个人一个问题：他们看到苏珊娜在花园的哪棵树下犯罪？第一个自信地回答“一棵马斯蒂克树”。当另一个被带进来时，他说“一棵橡树”。这两个“怪物”因相互矛盾的证据而陷入盲点，并代替苏珊娜被判处死刑。自封的“侦探”（或辩护律师）的丹尼尔赢得了普遍的赞誉，从那天起“在人民眼中享有很高的声誉”。
Susanna is about to be sentenced to death when the young hero, Daniel, speaks up, asking for the chance to cross-examine the two accusers separately. He asks each of them just one question: under which tree in the garden did they see Susanna committing her crime? The first confidently answers ‘a mastick tree’. When the other is brought in he says ‘an oak tree’. The two ‘monsters’ are thus caught out on their blind spot, by their conflicting evidence, and are sentenced to death in Susanna’s place. Daniel, the self-appointed ‘detective’ (or counsel for the defence), wins universal acclaim and from that day forth ‘was held in great reputation in the sight of the people’.
到贝尔与龙的时候但以理已成为当时最伟大的统治者巴比伦国王居鲁士的受人尊敬的顾问。但他们闹翻了，因为犹太人但以理拒绝崇拜巴比伦神贝尔或巴力。这座城市的主神庙里矗立着一尊巨大的贝尔铜像，每天在它面前摆着一大堆祭品：四十只羊、大量的面粉和大量的酒。他们每天晚上都会定期消失，这对国王来说无误地证明贝尔是一位真正的活神。但但以理只是微笑着告诉国王他不能被欺骗。居鲁士大发脾气，威胁但以理，除非他能证明上帝没有吃食物，否则就会被处死。但以理和国王一起去圣殿献上每日的祭品，但在关门之前，他安排在地板上撒上灰烬。当第二天早上他们回来时，国王得意地指出所有食物都已经用完的证据。丹尼尔请他仔细观察地板。骨灰上有许多男人、女人和儿童的脚印。贝尔的祭司和他们的家人在夜间通过暗门潜入，偷窃食物。国王下令处死那些欺骗他的人，并摧毁贝尔的雕像。丹尼尔再次战胜了“怪物”。国王下令处死那些欺骗他的人，并摧毁贝尔的雕像。丹尼尔再次战胜了“怪物”。国王下令处死那些欺骗他的人，并摧毁贝尔的雕像。丹尼尔再次战胜了“怪物”。
By the time of Bel and the Dragon Daniel has risen to become a respected adviser to the greatest ruler of the age, King Cyrus of Babylon. But they fall out, because Daniel, a Jew, refuses to worship the Babylonian god Bel, or Baal. In the city’s main temple stands a huge brass image of Bel, and every day a great heap of sacrifices is laid before it: forty sheep, masses of flour, quantities of wine. Regularly each night they disappear, which to the king proves infallibly that Bel is a true, living god. But Daniel only smiles and tells the king he must not be deceived. Cyrus loses his temper and threatens Daniel that, unless he can prove that the god does not eat the food, he will be put to death. Daniel goes to the temple with the king to present the daily offering but, before the door is sealed, he arranges for the floor to be sprinkled with ashes. When, next morning, they return, the king points triumphantly to the evidence that all the food has gone. Daniel invites him to look carefully at the floor. The ashes show the footprints of many men, women and children. The priests of Bel and their families have been creeping in during the night through a secret door, to steal the food. The king orders that those who have deceived him should be put to death and that the statue of Bel should be destroyed. Again Daniel has overcome the ‘monster’.
这两个故事已经包含了一些在后来的侦探故事中变得非常熟悉的装置。特别是，故事中出现了一位冷静、自信、洞察一切的侦探，他比故事中的其他人更早地弄清楚了犯罪是如何实施的。当然，几乎同样熟悉的是，怀疑的手指最初指向无辜者，直到侦探最终揭露真正的罪魁祸首。但这些故事与现代侦探小说之间有一个至关重要的区别。对于读者来说，这并不神秘。从一开始，我们观众就被告知犯罪是如何实施的、犯罪者是谁以及为什么犯罪：而在现代版本中，真正的“谜团”，
These two tales already include several devices which were to become only too familiar in later detective stories. In particular, there is the figure of the calmly confident, all-seeing detective who has worked out how the crime was committed long before anyone else in the story. Almost equally familiar, of course, was to become the way the finger of suspicion is initially pointed at someone who is innocent, until the detective eventually reveals the true culprit. But there is one crucial difference between these stories and the whodunnits of modern times. For the reader there is no mystery. Right from the start we, the audience, are let in on how the crime was committed, by whom and why: whereas in the modern versions, the true ‘Mystery’, the whole point is that we do not know these things until they are finally revealed to us and everyone else by that all-seeing detective.
谜团开始的地方
Where the Mystery began
通常被认为写出第一部现代侦探小说的作家是埃德加·爱伦·坡，他于 1841 年出版了《莫格街谋杀案》。事实上，基于悬疑情节的侦探故事最早的例子早在二十年前就已出现，是著名的德国早期浪漫主义作家埃塔·霍夫曼的故事之一。他的《Fraulein de Scudery》于 1819 年至 1821 年间作为《 Serapionsbrüder》之一出版。霍夫曼的故事以路易十四统治时期的巴黎为背景，以一位神秘而心烦意乱的年轻人午夜来到可敬的女士家里开始。 de Scudery，国王的最爱。他希望这位伟大的女士接受一个棺材。但仆人不愿意让他进来，因为最近整个巴黎都因一系列可怕的谋杀案而震惊和恐惧，这些谋杀案都涉及盗窃当时最著名的金匠雷内·卡迪拉克 (René Cardillac) 制作的珠宝。
The writer normally credited with having written the first modern detective story was Edgar Allan Poe, for his The Murders in the Rue Morgue, published in 1841. In fact the earliest example of a detective story based on the Mystery plot had already appeared two decades earlier, as one of the tales of the celebrated German early-Romantic writer E. T. A. Hoffmann. His Fraulein de Scudery was published as one of the Serapionsbrüder between 1819 and 1821. Hoffmann’s story is set in Paris in the reign of Louis XIV, and opens with the arrival at midnight of a mysterious, distraught young man at the house of the venerable Mlle de Scudery, a favourite of the king. He wants the great lady to accept a casket. But the servant is reluctant to let him in because all Paris has recently been shocked and terrified by a series of horrible murders, They all involve the theft of jewellery made by the most celebrated goldsmith of the day, René Cardillac.
德斯格雷领导下的警察已经束手无策。甚至有好几次目击谋杀案，但每次凶手似乎都消失在房子的墙壁里，以至于人们普遍认为只有魔鬼本人才能对此负责。接下来的情节很复杂，就像盗窃和谋杀背后的谜团一样，直到故事接近高潮。故事开始于备受尊敬的珠宝商卡迪拉克本人被发现被谋杀，而他的徒弟奥利维耶·布鲁森也在场，而布鲁森也爱上了卡迪拉克纯洁美丽的女儿玛德隆。由于一切似乎都表明布鲁森是凶手，他被捕了。但随后马德隆来到斯库德里小姐面前，为她的情人辩护。从这一刻起，精明的老太太就扮演起了侦探般的角色，当她试图揭开这桩阴暗事件的真相时（从而成为阿加莎·克里斯蒂笔下的老处女侦探马普尔小姐的原型）。此外，在后来的无数侦探故事中，夏洛克·福尔摩斯总是比苏格兰场督察莱斯特雷德领先几级，她这样做是为了蔑视德格雷和警察，他们坚持认为布鲁森是有罪的，迫不及待地想把他送上断头台。
The police, under Desgrais, are at their wits end. Several times a murder has even been witnessed, but each time the murderer has seemed just to melt away into the wall of a house, to the point where it is popularly believed that only the devil himself could be responsible. The plot which follows is complex, just as the mystery behind the thefts and murders remains complete, until the story approaches its climax. This begins when Cardillac, the universally respected jeweller, is himself found murdered, in the presence of his apprentice Olivier Brusson, who is also in love with Cardillac’s pure and beautiful daughter, Madélon. Since everything seems to point to Brusson as the murderer, he is arrested. But then Madélon comes to Mlle de Scudery, pleading her lover’s innocence. From this moment, the shrewd old lady assumes a detective-like role, as she seeks to unravel the truth of this murky business (thus becoming the prototype for Agatha Christie’s spinster-detective Miss Marple). Furthermore, in a fashion which was to become familiar from countless later detective stories, as where Sherlock Holmes was always several jumps ahead of Inspector Lestrade of Scotland Yard, she does this in defiance of Degrais and the police, who persist in their conviction that Brusson is guilty and cannot wait to hurry him to the scaffold.
老太太最终发现的可怕事实是，对巴黎各地的所有谋杀案负责的连环杀手不是别人，正是卡迪拉克本人。和杰基尔博士一样，这位受人尊敬的珠宝商也发展出了一个黑暗的另一个自我，像海德先生一样在夜间出现，犯下这些可怕的罪行。至于凶手，原来凶手不是布列松，而是一位皇家卫队队长，他已经指认了凶手，但想保守自己的身份。最终他还是站出来解释了。一切都解决了，倒霉的布鲁森被释放，与可爱的马德隆结婚，这对幸福的夫妇一起前往另一片土地开始他们的新生活。
The horrifying truth the old lady finally uncovers is that the serial-killer responsible for all the murders around Paris had been none other than Cardillac himself. Like Dr Jekyll, the respectable jeweller had developed a dark Alter-Ego, emerging at night like Mr Hyde to commit these fearful crimes. As for his own killer, it turns out the culprit was not Bresson but a captain of the royal guard, who had identified the murderer but wanted to keep his own identity secret. Eventually he comes forward to explain. All is resolved, the hapless Brusson is released to marry the lovely Madélon, and the happy pair go off to start their new life together in another land.
尽管斯库德里女士对这个谜团的解决更多地依赖于一系列偶然的供述，而不是她对线索的解释，但在其他方面，这个故事可能为此后出现的绝大多数侦探故事提供了一个模型。最重要的是，此类故事的一个关键部分是，就像苏珊娜的故事一样，当局的怀疑最初应该针对无辜的人；然后，侦探应该是唯一一个足够精明、能够“洞察全局”来识别真正罪犯的角色。
Although Mlle de Scudery’s solution of this mystery depends more on a fortuitous series of confessions than on her interpretation of clues, in other respects this story might have provided a model for the vast majority of detective stories which have appeared since. Above all, it is a crucial part of such stories that, as in the tale of Susanna, the suspicions of the authorities should initially be directed at someone who is innocent; and then that the detective should be the only character shrewd enough to ‘see whole’ in identifying the true criminal.
20 年后，爱伦·坡的《莫格街谋杀案》中的情节就因这个情节而闻名，几乎可以肯定，该情节的灵感来自于霍夫曼的故事。故事是由一个类似华生医生的人物来叙述，他的角色是对他的侦探朋友杜普因的天才进行令人钦佩的陪衬。故事以令人眼花缭乱的方式开始，展示了杜普安在巴黎街头漫步时重建朋友思路的不可思议的能力。随后，一名妇女和她的女儿在一间密封的房间里被殴打致死并被肢解，令全城震惊。警察逮捕了一个名叫勒邦的年轻人（他的名字有点粗俗地表明他是“好人”，因此是无辜的）。杜普因最终从两名死去的女人身上的指纹定位判断，凶手不可能是人类，而一定是一只巨猿，一只猩猩。果然，在城里发现的正是这样的生物。
This was the plot made famous 20 years later by Poe’s The Murders in the Rue Morgue, which was almost certainly inspired by Hoffmann’s tale. The story is narrated by a kind of Doctor Watson-figure, whose role is to be an admiring foil to the genius of his friend Dupuin, the detective. The story begins with a dazzling demonstration of Dupuin’s uncanny ability to reconstruct his friend’s train of thought as they are strolling through the streets of Paris. The city is then shocked by the discovery of a woman and her daughter having been battered to death and mutilated in a sealed room. The police arrest a young man called Le Bon (his name somewhat crudely signalling that he is ‘good’, therefore innocent). Dupuin eventually works out from the positioning of finger-marks on the two dead women that the killer cannot have been human, and must have been a giant ape, an orangoutan. Sure enough, precisely such a creature is found to have escaped in the city.
到了 1860 年代，侦探小说在英国变得特别流行，侦探小说的第一个主要代表人物是威尔基·柯林斯 (Wilkie Collins)，特别是在《月光石》 (1868) 中，侦探首次成为警察卡夫中士。他的另一部最著名的小说《白衣女人》（1860）也是根据悬疑情节改编的，尽管它并不是严格意义上的侦探小说。1柯林斯的朋友狄更斯在他最后一部未完成的小说《埃德温·德鲁德之谜》（1870 年）中使用了这个情节。1887 年，一位年轻的苏格兰医生阿瑟·柯南·道尔 (Arthur Conan Doyle) 发表了《猩红色的研究》(A Study in Scarlet)，介绍最著名的虚构侦探夏洛克·福尔摩斯；在接下来的几十年里，他出版了 60 部福尔摩斯故事，最终确立了这种类型，这种类型在 20 世纪找到了无数的实践者，从阿加莎·克里斯蒂 (Agatha Christie)、多萝西·塞耶斯 (Dorothy Sayers) 和 GK·切斯特顿 (GK Chesterton)，到比利时作家西默农 (Simenon) 以及他们的美国同时代作家，如雷蒙德·钱德勒。
By the 1860s detective stories were becoming particularly fashionable in England, their first leading exponent being Wilkie Collins, notably in The Moonstone (1868) in which the detective is for the first time a policeman, Sergeant Cuff. His other best-known novel The Woman in White (1860) is also based on the Mystery plot, although it is not strictly a detective story.1 Collins’s friend Dickens used the plot in his last, unfinished novel The Mystery of Edwin Drood (1870). In 1887 a young Scottish doctor, Arthur Conan Doyle, published A Study in Scarlet, introducing the most famous fictional detective of them all, Sherlock Holmes; and in the 60 Holmes stories he was to publish over the following decades he finally established the genre which in the twentieth century was to find countless practitioners, from Agatha Christie, Dorothy Sayers and G. K. Chesterton to the Belgian writer Simenon and their American contemporaries such as Raymond Chandler.
正如我们从《白衣女人》中看到的那样，它不仅仅是一种更明显的侦探故事类型，可以基于悬疑情节。例如，它还引发了某种类型的鬼故事，其中的谜题集中于追寻某些幽灵幽灵的解释。但这通常涉及一些过去的悲剧或犯罪，例如詹姆斯先生为皇家玩偶之家图书馆撰写的《闹鬼的玩偶之家》 （1925）。一位收藏家购买了一个制作精美的乡村别墅古董模型，并配有一套微型人物数字，然后把它放在他的卧室里。夜里，他被神秘钟声吵醒，看到娃娃屋被月光照亮。然后他目睹了一场幽灵戏剧的展开，其中房子里的人物犯下了三起谋杀案。他对这个幽灵感到惊讶，试图找出这些奇怪事件的历史解释。最终，他发现了一座早已被拆毁的房屋的故事，而十八世纪的一系列令人费解的谋杀案正是在这座房屋中发生的。但直到两个世纪后的今天，凶手的真实身份才被曝光。
As we see from The Woman in White, it is not only the more obvious type of detective story which can be based on the Mystery plot. It also, for instance, gives rise to a certain type of ghost story, where the mystery centres on tracking down the explanation for some ghostly apparition. But again this usually involves some past tragedy or crime, as in M. R. James’s The Haunted Dolls’ House (1925), written for the library of the Royal dolls’ house. A collector buys a beautifully-made antique model of a country house, complete with a set of miniature human figures, and sets it up in his bedroom. He is awakened in the night by the chiming of a mysterious clock, and sees the dolls’ house illuminated as if by moonlight. He then witnesses the unfolding of a ghostly drama, in which the figures in the house commit three murders. Amazed by this apparition, he tries to uncover some historical explanation for these strange events. Eventually he discovers the story of a long-demolished house, in which precisely such a baffling sequence of murders had taken place in the eighteenth century. But only now, two centuries later, have the true identities of the murderers come to light.
公民凯恩:悲剧之谜
Citizen Kane: The Mystery as Tragedy
奥逊·威尔斯 (Orson Welles) 的《公民凯恩》(Citizen Kane)是一个基于悬疑情节的著名但截然不同的故事类型（1941），这个谜语出现在电影的开场场景中，在一座名为“世外桃源”（Xanadu）的巨大而梦幻的加利福尼亚城堡中，我们看到了极其富有的查尔斯·福斯特·凯恩（Charles Foster Kane）的死亡，他是一个庞大的报纸和工业帝国的所有者。临死前，他说出了“玫瑰花蕾”这个词。一位年轻的记者对这个细节非常感兴趣，他感觉到这个细节可能包含凯恩神秘生活的线索，因此他开始探索“玫瑰花蕾”的含义。故事的框架是由他的调查过程提供的，但在这个框架内，我们看到记者重建了凯恩的整个生活，从多年前的一天开始，当时一位古板、自以为是的律师冒着大雪来到了卑微的地方，查尔斯小时候与母亲居住的偏远小木屋，宣布这个男孩被留下了一笔巨额财产。年轻的查尔斯和他的朋友们在外面的雪地里快乐地玩耍，他被叫到里面，留下了他的雪橇，并被告知律师现在是他的监护人，并将带他作为数百万人的继承人开始新的生活。他因被迫离开母亲和充满爱的简单家庭而心碎。
One well-known but very different type of story based on the Mystery plot was Orson Welles’s Citizen Kane (1941), The riddle is posed in the film’s opening scene when, in a huge and fantastic Californian castle called Xanadu, we see the death of the fabulously rich Charles Foster Kane, owner of a vast newspaper and industrial empire. With his dying breath, he utters the single word ‘Rosebud’. A young journalist is so intrigued by this detail, which he senses may contain the clue to Kane’s mysterious life, that he sets out to discover what ‘Rosebud’ may have meant. The framework of the story is provided by the course of his investigation, but within this frame we see the journalist reconstructing Kane’s entire life, from the day many years before when a stuffy, self-important lawyer had arrived in falling snow at the humble, remote log cabin where Charles lived as a little boy with his mother, to announce that the boy has been left an immense fortune. Young Charles is playing happily outside in the snow with his friends and is summoned inside, leaving behind his sledge, to be told that the lawyer is now his guardian and will be taking him off to begin a new life as the heir to millions. He is heartbroken to be torn away from his mother and his loving, simple home.
然后我们跟随凯恩成长过程中令人惊叹的职业生涯。作为一个年轻人，他发现他所继承的庞大商业帝国的一部分包括一份境况不佳的报纸，他决定亲自编辑这份报纸。令他的监护人感到恐惧的是，凯恩通过揭露新闻业和收购当时所有最好的记者，将其转变为美国最成功的报纸。他与一位参议员的女儿缔结了一场极其受人尊敬但并不充满爱的婚姻，这一次得到了他严厉的道德监护人的批准。他购买了更多的报纸，变得越来越富有，并开始了政治生涯，每个人都认为他将在白宫结束。但在他第一次令人眼花缭乱的竞选活动进行到一半时（当他的故事的梦想阶段达到顶峰时），有一天晚上，他在街上遇到了一个贫穷、天真、粗俗的年轻女孩苏珊，梦想成为一名职业歌手。他陷入痴情，政敌发现他的“暗恋巢穴”并炸毁成天大丑闻，他的政治生涯彻底毁了。
We then follow Kane’s astonishing career as he grows up. As a young man he discovers that part of the vast commercial empire he has inherited includes an ailing newspaper, which he decides to edit himself. To the horror of his guardian, Kane transforms it, through muckraking journalism and by buying up all the best journalists of the day, into the most successful newspaper in America. He makes an eminently respectable, unloving marriage to a Senator’s daughter, for once approved by his sternly moralistic guardian. He buys more newspapers, becomes ever richer and embarks on a political career which everyone assumes will end in the White House. But in the middle of his first dazzling campaign (when the Dream Stage of his story is at its height), he one night meets in the street a poor, naïve, vulgar young girl, Susan, who has dreams of becoming a professional singer. He becomes infatuated, his political opponents discover his ‘secret love nest’ and blow it up into a huge scandal, and his political career is in ruins.
如今，悲剧的格局已然方兴未艾，凯恩与他严厉、可敬的妻子离婚，娶了可怜的年轻苏珊，并用他的数百万美元让她成为一名歌剧演员（租用了一家大型歌剧院，并通过自己的事业来提振她）。报纸）。她是一个令人震惊、令人尴尬的失败者，而且还酗酒。凯恩将她关在他巨大而偏远的城堡里，里面塞满了从欧洲运来的大量艺术品，其中许多甚至从未被移走。板条箱。在公共舞台上，他的形象越来越无能、荒唐，比以往任何时候都更加富有，但完全无法按照他的意愿对政治事件施加任何影响。最后，他在可怜、孤独和过早衰老的情况下去世了，并说出了神秘的词“玫瑰花蕾”；当他的手指松开一个显示暴风雪的廉价玻璃镇纸时，它掉到了地板上并碎裂了。
Now the pattern of Tragedy is firmly in the ascendant, as Kane divorces his hard, respectable wife, marries the pitiful young Susan and uses his millions in a bid to launch her as an opera singer (hiring a grand opera house and boosting her through his newspapers). She is an appalling, embarrassing flop and takes to drink. Kane immures her in his vast, remote castle, stuffed with so many works of art shipped in from Europe that many have never even been removed from their crates. On the public stage, he cuts an increasingly impotent, absurd figure, richer than ever, but quite unable to exercise any influence on political events, as he wishes. Finally, pathetic, lonely and prematurely aged, he dies, uttering the mysterious word ‘Rosebud’; as his fingers let slip a cheap glass paperweight showing a snowstorm, which falls to the floor and shatters.
在他的探索结束时，将所有故事拼凑在一起的记者仍然对“玫瑰花蕾”感到完全困惑，来到城堡，绝望地寻找线索。他看到一群工人正在整理凯恩堆积如山的财产，并将大量垃圾扔进熔炉。废墟中有一个儿童的雪橇，当它被扔进火里时，舔舐的火焰照亮了上面写的名字“玫瑰花蕾”。连记者都没有看到。但对于我们观众来说，这个谜团终于解开了。凯恩一生的内心悲剧就在那一刻开始了，很多年前，他被从雪地里快乐的孩子气的游戏和母亲的温柔与爱中夺走了，被推入了坚硬的、陌生的、外部世界，被金钱、尊重等“男性”自我价值观所主导，权力和名誉。“玫瑰花蕾”是他的灵魂，是他失去的身份的秘密核心，他在临死前仍然渴望着它。它象征着他失去的内在女性气质，一切都是他投射在小婴儿身上的注定的爱。阿尼玛——苏珊的形象，带着她模糊的“艺术”梦想，是最后一次、可怜的重新夺回的尝试；但这只是标志着他内心毁灭的开始，因此他就像一个黑暗的重生故事中的英雄一样结束，陷入了看不见的自我主义之中，没有救赎的希望。2
At the end of his quest, the journalist who has pieced all this story together, still utterly baffled by ‘Rosebud’, comes to the castle in a last desperate search for clues. He sees an army of workmen sorting through Kane’s mountains of possessions and throwing huge quantities of rubbish into a furnace. Among the debris is a child’s toboggan and, as it is thrown into the fire, the licking flames illumine the name written on it, ‘Rosebud’. The journalist does not even see it. But for us, the audience, the mystery is at last solved. The inner tragedy of Kane’s life had begun at that moment when, all those years before, he had been torn away from his happy childish games in the snow and from the softness and love of his mother, to be propelled into the hard, alien, outside world, dominated by the ‘masculine’ ego-values of money, respectability, power and fame. ‘Rosebud’ was his soul, the secret heart of the identity he had lost, that he was still hankering for with his dying breath. It symbolised his lost inner feminine, everything the doomed love he had projected onto the little infantile anima-figure of Susan, with her vague ‘artistic’ dreams, had been a last, pitiful attempt to recapture; but which had signalled instead only the onset of his inner ruin, so that he ended like the hero of a dark Rebirth story, trapped in unseeing egotism with no hope of redemption.2
谁知道？
Whodunnit?
悬疑故事的真正要点，以及它与我们在本书中看过的所有其他类型故事的区别在于，英雄——侦探或调查员——以一种特殊的方式不直接参与故事的中心戏剧。故事。他或她站在外面，作为一种偷窥者，只是作为一个超然的、高级的机械神介入（如果有的话）来理清所发生的事情。
The real point of the Mystery story, and what distinguishes it from every other type of story we have looked at in this book, is that the hero – the detective or investigator – is in a peculiar way not directly involved in the central drama of the story. He or she stands outside it, as a kind of voyeur, only intervening, if at all, as a detached, superior deus ex machina to sort out what has happened.
事实上，当我们更仔细地审视这些故事时，我们发现调查者正在观察的戏剧，就像观众沉思一幅画或戏剧一样，总是受到我们已经看过的基本情节之一的影响，如《公民凯恩》是由悲剧的五个阶段情节塑造的。例如，在夏洛克·福尔摩斯的冒险中，大多数都是从这位伟大的侦探坐在他舒适的贝克街住所开始的。然后，一些心烦意乱的人物从外界闯入，讲述他或她如何陷入一场可怕的戏剧之中。睿智、洞察一切的福尔摩斯同意运用他近乎超自然的力量来解开这个谜团。他最终解开了谜团，心烦意乱的客户身上的阴影消失了，客户表达了永恒的感激之情，福尔摩斯回到他的住所，抽着烟斗，读着报纸，等待下一个案件。
In fact, when we examine such stories more carefully, we see that the drama the investigator is observing, like a spectator contemplating a picture or play, is invariably shaped by one of the basic plots we have already looked at, as Citizen Kane is shaped by the five-stage plot of Tragedy. In the adventures of Sherlock Holmes, for instance, most begin with the great detective sitting in his cosy Baker Street lodgings. Then some distraught figure intrudes from the outside world, to relate how he or she has been caught up in a terrible drama. The wise, all-seeing Holmes agrees to address his almost supernatural powers to solving the mystery. He eventually unravels the riddle, the shadows are lifted from his distraught client, who expresses undying gratitude, and Holmes returns to his lodgings to smoke his pipe, read the newspaper and await the next case.
他的客户所陷入的戏剧总是呈现出另一个情节的形式。这可能是一个克服怪物的故事，就像《斑点乐队》中那样事实上，福尔摩斯作为亲自战胜怪物的英雄，实际上扮演了比平常更重要的角色。这位心烦意乱的客户是一位年轻的女继承人，与她住在乡下的继父格里姆斯比·罗伊洛特博士的冷酷暴力形象让她感到受到威胁。两年前，她的姐姐在同一所房子里以暴力和神秘的方式死亡。福尔摩斯在医生不在的情况下检查了房子，弄清楚了妹妹是如何被谋杀的，以及他的委托人现在如何面临同样命运的危险。当然，我们读者不会被告知他推论了什么，因为这会破坏悬念。福尔摩斯晚上偷偷回到家里，并在千钧一发之际派出凶手，一条致命的蛇，回到轨道上，顺着铃绳，穿过墙上特制的洞，到达它来的下一个房间。在这里，它把致命的尖牙咬在了发送它的恶棍罗伊洛特博士身上，他的目的是为了女孩的钱。怪物就这样被战胜了，美丽的年轻女主人公得救了；如果这是通常的战胜怪物的故事，我们可能会期望勇敢的英雄与他救出的“公主”结婚。但在这里我们不希望出现这种情况。女主人公从福尔摩斯的生活中消失了，他回到了自己的住处，对他的冒险没有任何改变。美丽的年轻女主角得救了；如果这是通常的战胜怪物的故事，我们可能会期望勇敢的英雄与他救出的“公主”结婚。但在这里我们不希望出现这种情况。女主人公从福尔摩斯的生活中消失了，他回到了自己的住处，对他的冒险没有任何改变。美丽的年轻女主角得救了；如果这是通常的战胜怪物的故事，我们可能会期望勇敢的英雄与他救出的“公主”结婚。但在这里我们不希望出现这种情况。女主人公从福尔摩斯的生活中消失了，他回到了自己的住处，对他的冒险没有任何改变。
The drama in which his clients are caught up always turns out to assume the shape of another plot. It may be an Overcoming the Monster story, as in The Speckled Band, where Holmes in fact plays a more than usually central role as the hero who personally overcomes the monster. The distraught client is a young girl, an heiress, who feels threatened by the grim, violent figure of her stepfather, Dr Grimesby Roylott, with whom she lives in the country. Two years earlier her older sister had died in violent and mysterious circumstances in the same house. Holmes inspects the house, in the doctor’s absence, and works out how the sister must have been murdered and how his client is now in danger of the same fate. Of course we, the readers, are not told what he has deduced, since this would destroy the suspense. Holmes then secretly returns to the house at night, and in the nick of time manages to send the agent of murder, a deadly snake, back on its tracks up a bell rope and through a specially-contrived hole in the wall to the next room from which it has come. Here it fastens its deadly fangs in the villain who sent it, Dr Roylott, who is after the girl’s money. The monster is thus overcome, the beautiful young heroine has been saved; and if this were the usual Overcoming the Monster story we might then expect the brave hero to marry the ‘Princess’ he has rescued. But here we expect nothing of the kind. The heroine passes out of Holmes’s life and he returns to his lodgings quite unchanged by his adventure.
福尔摩斯的冒险故事最明显地基于《战胜怪物》的情节，道尔在这部小说中标志着他的侦探在据称与莫里亚蒂一起从莱辛巴赫瀑布坠落身亡 11 年后复活。《巴斯克维尔的猎犬》（1902）的悬念是通过道尔想象出一只巨大、发光的“怪物猎犬”的形象而建立起来的，它看似超自然，在夜间在雾气缭绕的达特穆尔漫游，并与神秘的死亡联系在一起。当地土地所有者的。福尔摩斯推断，这个“怪物”不是鬼魂，而是一只真正的狗，被用来进一步实施一系列犯罪行为，他所指认的肇事者。当他成功射杀怪物时，高潮到来了，就在怪物逃跑的主人被沼泽吸死之前（改编自 RD Blackmore 的 Lorna Doone 33 年前的高潮情节中的一个图像，当时恶棍被吸到了沼泽中）他在埃克斯穆尔的类似泥潭中死亡）。
No Holmes adventure is based more overtly on the Overcoming the Monster plot than the novel with which Doyle marked his detective’s return to life 11 years after he supposedly fell to his death with Moriarty over the Reichenbach Falls. The suspense of The Hound of the Baskervilles (1902) is built up through Doyle’s conjuring up the image of a gigantic, luminescent and ‘monstrous hound’, seemingly supernatural, which roams a fog-wreathed Dartmoor at night and is associated with the mysterious death of a local landowner. Holmes deduces that the ‘monster’ is not a ghost but a real dog, being used to further a series of crimes, the perpetrator of which he identifies. The climax comes when he manages to shoot the monster, just before its fleeing master is sucked down to his death by a bog (adapting an image borrowed from the climactic episode of R. D. Blackmore’s Lorna Doone 33 years earlier, when the villain was sucked down to his death in a similar quagmire on Exmoor).
然而，在这个谜团的框架内，其他福尔摩斯故事都是基于不同的情节。马斯格雷夫仪式呈现出一种探索的形式，最终在池塘底部发现了一件伟大的宝藏——英格兰的古代王冠。博斯科姆山谷之谜结果是根据喜剧情节塑造的，其中的黑暗人物是两个陷入致命争吵的父亲，而他们的两个孩子渴望结婚，但由于父亲的不和而无法结婚。一名父亲谋杀了另一名父亲，因此无辜的儿子首先受到怀疑，这就是福尔摩斯前来调查的原因。他介入的结果是“男女主角”终于从阴影中解放出来，自由地结婚了。但此时，福尔摩斯早已回到贝克街，等待他的下一个案件。
Within the framework of the Mystery, however, other Holmes stories are based on different plots. The Musgrave Ritual takes on the shape of a Quest, ending in the discovery at the bottom of a pond of a great treasure, the ancient crown of England. The Boscombe Valley Mystery turns out to be shaped by the plot of Comedy, where the dark figures are two fathers, locked in a deadly quarrel, while their two children long to get married but are prevented from doing so by their fathers’ feud. One father murders the other, so that suspicion at first falls on the innocent son, which is what brings in Holmes to investigate. The result of his intervention is that the ‘hero’ and ‘heroine’ are at last liberated from the shadows and free to get married. But by this time, Holmes has long since returned to Baker Street, to await his next case.
正是谜团中的中心人物所扮演的这种奇怪的超然角色，以及他与暂时经过他的审视的其他角色缺乏真正的人性参与，才真正为我们提供了了解这些故事的中心线索。
It is this curiously detached role played by the central figure in the Mystery, and his lack of real human involvement with the other characters who pass temporarily under his scrutiny, which really gives us the central clue to what these stories are about.
重要的是，大多数悬疑故事都与发现谁对犯下一些可怕的罪行负有责任。大量的故事讲述都以某种方式与犯罪行为有关。尽管我们通常将“谋杀故事”这个标题用于悬疑小说或“侦探小说”，但世界上许多伟大的文学作品都是由谋杀故事组成的：从《奥瑞斯提亚》到《杰克与魔豆》，从《阿拉丁》莎士比亚的悲剧和陀思妥耶夫斯基的四大小说。但在此类故事中，很少有人怀疑凶手是谁。他们关心的是犯罪行为对涉案人员更深层次的道德环境和后果。杀人是否合理？罪犯会正视自己的罪行吗？他是否要付出自己的死亡的代价？他是否会经历一段转变心意、一段剧烈痛苦和悔改的时期，最终获得释放？
It is significant that most Mystery stories are concerned with discovering who has been responsible for committing some terrible crime. A great deal of storytelling is concerned in one way or another with the committing of crimes. Although we usually reserve the title of ‘murder story’ for mysteries or ‘whodunnits’, much of the great literature of the world is made up of stories in which murders are committed: from the Oresteia to Jack and the Beanstalk, from Aladdin to the tragedies of Shakespeare and the four major novels of Dostoyevsky. But rarely in such stories is there any doubt about who has committed the murder. What they are concerned with is the deeper moral circumstances and consequences of the crime for those involved. Is the killing justified? Will the criminal face up to his guilt? Will he have to pay the price with his own death? Will he go through a change of heart and a period of intense suffering and repentance, so that he can eventually be released?
这类故事与“侦探小说”的区别在于后者不涉及如此复杂的问题。它的全部吸引力来自于最初隐藏罪魁祸首的身份，最后揭露其身份的简单技巧。我们并不真正关心所涉及的道德细节，也不关心表演故事的其他角色。它们主要是为了向我们提供基本材料，以便再次展示这位英雄侦探非凡的精神力量。我们认为这个人物是我们关注的焦点，真正的要点是，犯罪者总是别人而不是他自己。在追寻故事的过程中，
The difference between these sorts of story and the ‘whodunnit’ is that the latter is not concerned with such complex issues. It derives its entire appeal from the simple trick of initially hiding the identity of the culprit and then at the end revealing it. We are not really concerned with the finer points of morality involved, or with the other characters acting out the story. They are primarily there just to present us with the basic materials for yet another demonstration of the hero-detective’s extraordinary mental powers. And the real point about this figure with whom we identify as the focus of our attention, is that the person who has committed the crime is always someone other than himself. In following the story, we can invariably rest in the comfortable certainty that it will be someone other than the person we are identifying with on whom the guilt will eventually be pinned.
我们认为这是理所当然的，因为自现代侦探小说兴起以来，正是这个公式的全部要点给读者带来了如此多的乐趣，以至于我们可能看不出它有什么奇怪的。
So much do we take this for granted, since it is the whole point of the formula which has given such pleasure to readers since the rise of the modern detective story, that we may see nothing odd about it.
但是，让我们考虑一下所有文学中最伟大的“侦探小说”：一个故事围绕其中心人物的努力而展开，以发现谁犯下了如此可怕的罪行，这无异于谋杀了国王。当我们见到英雄俄狄浦斯王时，一个可怕的诅咒降临在他的国家上，他被告知，除非他发现谋杀他的前任国王拉伊俄斯的人的身份，否则这个诅咒不会解除。俄狄浦斯作为侦探，着手解开这个谜团，这当然只是他的谜团，而不是我们的谜团。他发现了一个又一个的线索，直到他最终不得不无情地认识到杀害国王的凶手不是别人，正是他自己；更糟糕的是，他杀死的人不是别人，正是他自己的父亲。
But let us then consider the greatest ‘whodunnit’ in all literature: a story shaped round the efforts of its central figure to discover who has committed a crime so terrible that it is nothing less than the murder of a king. When we meet the hero, King Oedipus, a fearful curse has fallen on his country, and he is told that it will not be lifted until he has discovered the identity of the man who murdered his predecessor, King Laius. Oedipus sets out, as detective, to unravel this mystery, which of course is only a mystery to him, not to us. He uncovers clue after clue until he is finally brought up against the inexorable realisation that the king’s murderer was none other than himself; and, what makes it worse, that the man he killed was none other than his own father.
正是这一点，将索福克勒斯的《俄狄浦斯暴君》（我们将在下一章中对其进行全面分析）置于比我们一直在考虑的任何其他类型的“侦探小说”都要严肃得多的水平上。我们不再只是旁观，舒适地认同某个中心人物——夏洛克·福尔摩斯、彼得·温西、赫尔克里·波洛——一次又一次地设法将犯罪的责任归咎于别人，就好像通过某种机械公式一样，我们是面对一个人正在经历任何人都知道的最深刻和最不舒服的经历之一的景象：最终不得不面对自己本性的阴暗面，并认识到自己不可挽回的罪恶感。
It is this which places Sophocles’s Oedipus Tyrannos (which we shall analyse fully in the next chapter) on an infinitely more serious level than any of the other types of ‘whodunnit’ we have been considering. Instead of just sitting vicarously on the sidelines, cosily identifying with some central figure – Sherlock Holmes, Peter Wimsey, Hercule Poirot – who again and again manages to pin the blame for a crime on someone else, as if by some mechanical formula, we are thrust up against the spectacle of a man going through one of the most profound and uncomfortable experiences any human being can know: having to face up at last to the dark side of his own nature and to recognise his own, irrevocable guilt.
这就是为什么我们必须考虑现代侦探故事和悬疑情节的中心线索，因为它们与我们在本书中看过的任何其他类型的故事不同。在这里我们也可以找到为什么即使是侦探惊悚小说最忠实的读者也常常觉得它们最终不满意，每次他们的故事最终得出结论时都会有一种奇怪的平淡感。
Herein lies the central clue as to why we must consider the modern detective story, and the plot of the Mystery, as in a different category from any other type of story we have looked at in this book. Herein also we may find the reason why even the most devoted readers of detective thrillers often find them ultimately unsatisfying, with a curious sense of flatness each time one of their stories finally reaches its conclusion.
1944 年，埃德蒙·威尔逊 (Edmund Wilson) 在《纽约客》上发表了三篇关于侦探小说热情的批评文章，这一点颇为著名，他对那些急忙为他们辩护的人的激烈反应感到震惊。尤其令他震惊的是，这些读者似乎沉迷于侦探小说，就像沉迷于毒品一样，但似乎很难解释为什么他们如此喜欢它。威尔逊在他的文章“谁在乎谁杀了罗杰·艾克罗伊德？”中的一个中心观察是，从严格的文学术语来看，大多数侦探小说的写作风格是多么平庸。这些角色只是二维的纸板剪纸，围绕着一块木板进行操纵，以服务于故事的中心目的，即设置一些通常完全人为的、不可能的谜题，供侦探解决。一旦这个难题得到解决，或者答案揭晓，故事及其人物不再令人感兴趣；一旦填完最后一条线索，这就像填字游戏一样。
When in 1944 Edmund Wilson famously wrote three critical articles about the passion for detective stories in The New Yorker, he was startled by the virulence of the response he received from those who rushed to defend them. What particularly struck him was how these readers seemed to be addicted to detective fiction, as if to a drug, yet seemed to find it remarkably difficult to explain why they liked it so much. One of Wilson’s central observations, in his essay ‘Who Cares Who Killed Roger Ackroyd?’, was how banal, in strictly literary terms, is the style in which most detective stories are written. The characters are just two-dimensional cardboard cutouts, manipulated round a board to serve the story’s central purpose, which is to set up what is usually some wholly artificial, improbable puzzle for the detective to solve. Once this conundrum has been solved, or its answer revealed, the story and its characters are of no further interest; any more than is a crossword puzzle once the last clue has been filled in.
侦探故事的要点在于，它们源自人类心灵的一部分，即心灵的秩序功能，当它与那些可以将其与生活世界的现实联系起来的女性感觉和直觉理解原则分离时。然后它在幻想的层面上运作或白日梦。这就是为什么这些故事对那些不像埃德蒙·威尔逊那样容易被其魅力所吸引的人如此着迷。他们创造了一个整洁的小虚构世界，与现实隔绝，其中排序功能可以设置其谜语，只需通过隐瞒读者解决谜语所需的信息直到作者准备好揭示它的技巧即可。这就是我们读者可以愉快地逃离的幻想王国。我们首先享受看到一些和平、有序的小“王国”的颤栗，比如传统的英国村庄、乡村别墅或牛津大学，被黑暗而神秘的邪恶入侵所扰乱。然后我们欣赏这位全知侦探无情地移动，一条一条线索的令人安心的景象，到了这样的程度，这种混乱的原因可以安全地归咎于某个邪恶人物，而他们从一开始就从未真正属于这样一个受人尊敬、守法的世界。我们终于看到法律和秩序得到恢复，就像在一个自我价值观最终取得胜利的故事中一样。只不过，在这里，由自我所代表的解决一切的整体性的真正状态不起作用。
The point of detective stories is that they derive from that part of the human psyche, the ordering function of the mind, when this becomes split off from those feminine principles of feeling and intuitive understanding which can connect it to the reality of the living world. It then operates on the level of a fantasy or daydream. This is why such stories are so beguiling to those who, unlike Edmund Wilson, are susceptible to their charms. They create a neat little make-believe world, hermetically sealed from reality, in which the ordering function can set up its riddles, simply by the trick of withholding the information the reader needs to solve the riddle until the author is ready to reveal it. Such is the fantasy realm into which we, the readers, can then have the pleasure of escaping. We first enjoy the frisson of seeing some peaceful, ordered little ‘kingdom’, such as a traditional English village, a country house or an Oxford college, being upset by a dark and mysterious irruption of evil. We then enjoy the reassuring spectacle of the all-seeing detective moving inexorably, clue by clue, towards the point where the cause of this disorder can safely be pinned on some villainous figure who never really belonged to such a respectable, law-abiding world in the first place. We finally see law and order restored, much as in a story where the values of the Self have eventually triumphed. Except that here the genuine state of all-resolving wholeness represented by the Self plays no part.
这部戏剧的构思与我们所看到的其他类型故事的情感水平相同，自我可以幻想享受自我的奖励，而不必经历实现它所需的更深层次的过程。侦探形象是人类自我或“超我”的特殊投射，其理性智慧的表现主义表现在道德上是可接受的，因为它服务于确保黑暗被揭露和光明获胜的更广泛目的。正如詹姆斯·邦德对性和暴力的沉迷是因为他正在捍卫“我们这一方”免受邪恶的超级恶棍的侵害，夏洛克·福尔摩斯对智力优越性的无耻假设（更不用说他对可卡因的沉迷）似乎是完全可以接受的，因为他用它以法律、秩序和真理的名义揭露邪恶。因此，我们读者可以间接地看到他以这种方式炫耀，因为我们知道这一切都是为了更高尚的正义事业。而更让我们对侦探小说中无所不知的中心人物产生一种共同的优越感的是，他总是被其他角色包围，比如那些愚蠢的警察，他们总是通过跳跃来暴露自己智力的低下。得出错误的结论。沃森这个角色充当了侦探才华的笨手笨脚的陪衬，同样也强化了我们英雄令人敬畏的超人力量的感觉。而更让我们对侦探小说中无所不知的中心人物产生一种共同的优越感的是，他总是被其他角色包围，比如那些愚蠢的警察，他们总是通过跳跃来暴露自己智力的低下。得出错误的结论。沃森这个角色充当了侦探才华的笨手笨脚的陪衬，同样也强化了我们英雄令人敬畏的超人力量的感觉。而更让我们对侦探小说中无所不知的中心人物产生一种共同的优越感的是，他总是被其他角色包围，比如那些愚蠢的警察，他们总是通过跳跃来暴露自己智力的低下。得出错误的结论。沃森这个角色充当了侦探才华的笨手笨脚的陪衬，同样也强化了我们英雄令人敬畏的超人力量的感觉。
The drama has been conceived on that same sentimental level we have seen giving rise to other types of story, where the ego can fantasise about enjoying the rewards of the Self without having to go through the deeper processes required to achieve it. The detective figure is a particular projection of the human ego, or ‘super-ego’, whose exhibitionistic display of rational intelligence is made morally acceptable because it is serving the wider purpose of ensuring that darkness is exposed and light is victorious. Just as James Bond’s indulgence in sex and violence is sanctioned by the fact that he is defending ‘our side’ against some wicked super-villain, so Sherlock Holmes’s outrageous assumption of intellectual superiority (not to mention his indulgence in cocaine) appears entirely acceptable, because he is using it to expose evil in the name of law, order and truth. We the readers can thus share vicariously in the sight of him showing off in this way, knowing it is all in a higher, righteous cause. And what gives us even more a sense of shared superiority in identifying with the all-seeing central figure in detective stories is that he is always surrounded by those other characters, such as the dimwitted police, who expose the inferiority of their intelligence by invariably jumping to the wrong conclusions. The role of the Watson-figure in acting as a bumbling foil to the detective’s brilliance is similarly to reinforce this sense of our hero’s awesomely superhuman powers.
所有这些似乎都是一种无害的自我放纵，就像完成填字游戏一样。但这些自我指涉难题的解开与现实世界的关系如此之小，而且它们很大程度上依赖于同一组刻板印象的无休止的循环利用，以至于这些问题的作者实际上只有两种方式：故事可以保持原创性的幻觉，这是保持观众兴趣所必需的。第一个是通过他们将英雄变成足够独特的二维角色的技巧，通过他们古怪的习惯和流行语来定义；柯南道尔在创造福尔摩斯的游戏中是至高无上的大师。另一个是通过他们的独创性，他们可以为本质上如此有限和重复的公式找到新的智力转折。她成功地对基本公式提出了一个又一个的排列：从一个故事中许多可能的嫌疑人中的每一个都被证明同样有罪（东方快车谋杀案）到其中的罪魁祸首成为故事的叙述者和侦探自己的沃森式知己（罗杰·艾克罗伊德谋杀案）。
All this may seem as harmless a form of self-indulgence as completing a crossword puzzle. But so little does the unravelling of these self-referential conundrums have to do with the real world, and so much do they rely on the endless recycling of the same set of stereotypes, that there are really only two ways in which the authors of such stories can maintain the illusion of originality necessary to keep their audience’s interest alive. The first is through the skill by which they turn their heroes into sufficiently distinctive two-dimensional characters, defined by their quirky habits and catch-phrases; the game at which Conan Doyle in creating Holmes was the supreme master. The other is through the ingenuity with which they can find new intellectual twists to what is essentially such a limited and repetitive formula. This was one reason why Agatha Christie was so successful, in that she managed to come up with one permutation on the basic formula after another: ranging from a story in which every one of the many possible suspects turns out to be equally guilty (Murder on the Orient Express) to that in which the culprit turns out to be the story’s narrator and the detective’s own Watson-like confidant (The Murder of Roger Ackroyd).
然而，从某种意义上说，其中最巧妙的转折是阿加莎·克里斯蒂在商业上所使用的，这成为有史以来搬上舞台的最成功的侦探故事版本。这应该是现代侦探小说中唯一一个犯罪者就是侦探本人的例子，这难道完全是巧合吗？捕鼠器可能不具有心理深度或被认为是伟大的文学。但是，在这个独特的公式转折中，数以百万计的观众是否应该这样做，因为他们帮助使它成为历史上运行时间最长的舞台作品，因为他们在其中捕捉到了最深刻的最微弱的回响之一讲故事的核心问题是：真正的戏剧隐含在一个人发现的不是别人的罪孽（这很容易），而是他自己的罪孽中？3
In a sense the most ingenious twist of all, however, was that used by Agatha Christie in what was to become, in commercial terms, the most successful version of a detective story ever put on the stage. Was it entirely coincidental that this should have been the only example of a modern ‘whodunnit’ where the person who committed the crime turns out to have been the detective himself? The Mousetrap may have no pretensions to psychological profundity or to be considered as great literature. But is it possible that, in this unique twist to the formula, the millions of theatregoers who helped to make it the longest-running stage production in history should have done so because they caught in it just the faintest echo of one of the most profound issues which lie at the heart of storytelling: the real drama implicit in a man discovering not someone else’s guilt, which is easy, but his own?3
第三十章
斯芬克斯之谜
俄狄浦斯与哈姆雷特
Chapter Thirty
The Riddle of the Sphinx
Oedipus and Hamlet
“生来如此，我不求成为别人，
‘Born thus, I ask to be no other man,
比我是谁，我就会知道我是谁。
Than that I am, and will know who I am.’
俄狄浦斯,索福克勒斯,俄狄浦斯王
Oedipus, Sophocles, King Oedipus
“最重要的是，对你自己要真实，
‘This above all, to thine own self be true,
它必须随之而来，就像夜晚是白天一样，
And it must follow, as the night the day,
那么你就不能对任何人说谎。
Thou canst not then be false to any man.’
波洛尼尔斯，《哈姆雷特》，第一幕，第三场
Polonius, Hamlet, Act I, Scene 3
“一个人是多么伟大的杰作，他的理性多么高尚，他的才能多么无限，他的形式和感动多么表达和令人钦佩，他的行动多么像天使，他的理解多么像神；世界之美，动物之典范。但对我来说，尘埃的精髓是什么？
‘What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god; the beauty of the world, the paragon of animals. And yet to me what is this quintessence of dust?’
哈姆雷特第二幕第一场
Hamlet, Act II, Scene 1
“地球上有很多奇迹，其中最伟大的是人类……他是永恒地球的主人……他是所有生物的主宰……他学会了语言的使用，大脑的快速运动; 找到了在城市里共同生活的方式……没有什么是他力所能及的。他的机敏能应付一切机会，战胜一切危险，他找到了治疗每一种疾病的方法，除了死亡。哦，人类奇妙的微妙之处，要么吸引他走向善，要么吸引他走向恶！”
‘Wonders are many on earth, and the greatest of these is man ... he is master of ageless Earth ... he is lord of all things living ... the use of language, the wind-swift motion of brain he learnt; found out the ways of living together in cities ... there is nothing beyond his power. His subtlety meeteth all chance, all danger conquereth, for every ill he found its remedy, save only death. O wondrous subtlety of man, that draws him either to good or evil ways!’
索福克勒斯、安提戈涅
Sophocles, Antigone
我们通过考察世界文学中两个最重要的谜题故事来结束本书的第三部分。第一个是希腊神话中的俄狄浦斯，正如索福克勒斯在古代世界流传下来的最具启发性的三部戏剧中所描绘的那样。另一个是莎士比亚悲剧中最神秘的《哈姆雷特》 。在解开这些故事看似模棱两可的过程中，我们比以往任何时候都更深入地回到了我们讲述故事的需要的核心。
We end this third section of the book by looking at what may be regarded as the two supreme puzzle stories in world literature. The first is the Greek myth of Oedipus, as portrayed by Sophocles in the most searching trio of plays to have come down to us from the ancient world. The other is Hamlet, the most enigmatic of Shakespeare’s tragedies. In unravelling the seeming ambiguity of these tales we return again, more deeply than ever, to the heart of what our need to tell stories is about.
俄狄浦斯神话的第一个谜题是它如何包含两个独立的故事，而这两个故事在某种意义上似乎是相互矛盾的。第一个讲述了一个流亡的年轻人如何来到底比斯城，这座城市在可怕的怪物的阴影下受苦。斯芬克斯，字面意思是“绞杀者”，是半女人半兽的人，住在城市附近悬崖上的路边。她拦住路上的每一位旅行者，让他们猜谜语。“什么东西早上用四条腿运动，下午用两条腿运动，晚上用三条腿运动？” 没有旅行者能够给出答案，狮身人面像将每个人轮流推下悬崖。俄狄浦斯终于到来并解开了她的谜语。答案当然是“一个男人”（婴儿时用四肢爬行，晚年则使用棍子）。愤怒的狮身人面像跳崖自杀，底比斯人民鼓掌选举俄狄浦斯为国王，视其为将这座城市从诅咒中解放出来的伟大英雄。
The first puzzle of the Oedipus myth is how it includes two separate stories which in a sense may seem to contradict each other. The first tells how a young man wandering in exile comes to the city of Thebes which is suffering under the shadow of a fearful monster. The Sphinx, literally ‘the strangler’, is half-woman, half-beast, who lives by the roadside over a precipice near the city. She stops every traveller on the road to pose a riddle. ‘What moves on four legs in the morning, two legs in the afternoon and three in the evening?’ No traveller can give an answer, and the Sphinx pushes each in turn over the cliff. Finally Oedipus arrives and solves her riddle. The answer of course is ‘a man’ (who as a baby crawls on all fours and in the evening of his life uses a stick). The enraged Sphinx throws herself off the cliff, and the people of Thebes choose Oedipus by acclamation to be their king, as the great hero who has freed their city from its curse.
显然，狮身人面像的问题所代表的意义远比童年谜语要深刻得多。她似乎要问的真正问题是“男人是什么？”，俄狄浦斯的回答方式清楚地表明他是非常特殊的。他以这种壮观的方式克服了“黑暗女性”这一事实意味着，就像珀尔修斯杀死美杜莎一样，他已经证明了自己是一个真正的男人。事实上，在与前国王的遗孀伊俄卡斯塔结婚后，他继续统治底比斯，成为该城有史以来最伟大的国王。但随后开始了俄狄浦斯故事中更著名的部分，这表明他根本没有真正成为一个完整的、完全有自我意识的人。事实上，他的定义正是由他对自己的不了解程度决定的。
Obviously the Sphinx’s question stands for something much deeper than just a childhood riddle. The real question she seems to be asking is ‘what is a man?’, which Oedipus has answered in a way which clearly marks him out as quite exceptional. The fact that he has overcome the ‘dark feminine’ in this spectacular fashion implies that, like Perseus in slaying Medusa, he has shown himself to be a true man. Indeed, having married Jocasta, widow of its former king, he goes on to rule over Thebes as the greatest king the city ever had. But then begins the more famous part of Oedipus’s story, which shows that he has not really become a whole, fully self-aware man at all. Indeed he becomes defined precisely by how much about himself he does not know.
暴君俄狄浦斯
Oedipus the Tyrant
索福克勒斯的《俄狄浦斯暴君》的开头向我们介绍了一个已经病入膏肓的王国的熟悉形象。俄狄浦斯王给他的人民带来了十五年的和平与繁荣。但现在，一个可怕的诅咒降临到了“光之城”身上。农作物歉收，田野里的动物死亡，瘟疫肆虐。当人民恳求国王帮助他们时，他承诺将尽一切努力消除这个阴影。事实上，他已经派他妻子伊俄卡斯塔的弟弟克瑞翁去询问德尔菲神谕他应该做什么。克瑞翁回来报告了神谕的声明，即诅咒的原因是底比斯存在一种“不洁的东西，在我们的土地上出生和培育，现在正在污染它”。十五年前，就在俄狄浦斯到达这座城市之前，他们的前任国王拉伊俄斯在旅途中被谋杀。只有找到凶手并将其驱逐，才能拯救这座城市。俄狄浦斯承诺一切都将“被带入光明”。他将不遗余力地追查犯下这一难以形容的罪行的人。
The opening of Sophocles’s Oedipus Tyrannos introduces us to the familiar image of a kingdom which has fallen mortally sick. King Oedipus has brought his people fifteen years of peace and prosperity. But now a terrible curse has come upon ‘the City of Light’. Crops fail, animals die in the fields, pestilence rages. When the people plead with their king to help them, he promises he will do all in his power to get this shadow lifted. Indeed he has already sent Creon, brother of his wife Jocasta, to ask the Delphic oracle what he should do. Creon returns to report the oracle’s pronouncement that the cause of the curse is the presence in Thebes of an ‘unclean thing, born and nursed on our soil and now polluting it’. Fifteen years earlier, just before Oedipus arrived in the city, their previous king Laius, on a journey, had been murdered. Only if the murderer can be found and banished can the city be saved. Oedipus promises that all will be ‘brought into the light’. He will stop at nothing to track down whoever has been guilty of this unspeakable crime.
然后，在俄狄浦斯的命令下，聪明的盲人泰瑞西亚斯出现了。失去了外在的眼睛后，他获得了内心的洞察力，可以向他展示正常视野中隐藏的事物。泰瑞西阿斯三度宣称他，俄狄浦斯，是“这片土地的可恶的污染者”，这激怒了国王。他正在寻找的凶手就是他自己；“你的敌人就是你自己”。他最后预言，杀害拉伊俄斯的凶手有一天会被赶出这座城市，因为他被发现杀了自己的父亲并娶了自己的母亲。在俄狄浦斯看来，这一切不过是一个愚蠢老人的胡言乱语，他在表达了对泰瑞西阿斯的蔑视后，又对克瑞翁大发雷霆，指责克瑞翁陷害泰瑞西阿斯，提出这些荒谬的指控，作为阴谋的一部分。取代他登上王位。
Then, at Oedipus’s bidding, there arrives the wise old man Teiresias, who is blind. Having lost his outward eyes, he has gained that inward vision which can show him things hidden from normal sight. Three times Teiresias proclaims, to the king’s mounting fury, that he, Oedipus, is the ‘accursed polluter of this land’; that the killer he is seeking is himself; ‘your enemy is yourself’. He ends by prophesying that Laius’s killer will one day be driven blind out of the city, having been found to have killed his own father and married his mother. All this strikes Oedipus as no more than the ravings of a foolish old man and, having expressed contempt for Teiresias, he then explodes in fury at Creon, whom he accuses of having set up Teiresias to make these absurd charges as part of a plot to replace him on the throne. But when Jocasta tries to calm him down, we see Oedipus embarking on the three stages through which he pursues his determination to track down the truth of who is to blame for his city’s mortal sickness.
首先，伊俄卡斯塔向他保证，他不可能对她已故丈夫的死负责，因为另一个神谕曾预言拉伊俄斯将死于他自己的孩子之手。他们只有一个孩子，当孩子三岁的时候几天后，它就被遗弃在山腰上死去了。无论如何，拉伊俄斯是在三路交汇处被一伙强盗杀害的。但“三条路”的提及却第一次在俄狄浦斯身上激起了可怕的怀疑。他激烈地向伊俄卡斯塔询问更多细节。他越了解事情发生的地点和拉伊俄斯的样子，他的恐惧就越多。终于，他再也忍不住了。他讲述了自己的一生：当一个生活在科林斯的年轻人时，他自己被神谕告知，有一天他会杀死他的父亲波吕玻斯并娶他的母亲；他离家出走是为了确保这样的恐怖永远不会发生；当他来到三路交汇的地方时，在一辆马车上遇到了一位尊贵的绅士。这个人的仆人粗鲁地把他推开，他们的主人在他们经过时恶毒地攻击他，俄狄浦斯盛怒之下把他们全杀了。如果这个人真是拉伊俄斯，他喊道：“没有人比我更不幸了”。1
First, Jocasta reassures him that he could not possibly have been responsible for her late husband’s death, because another oracle had foretold that Laius would die at the hands of his own child. They had only had one child and, when it was three days old, it had been abandoned to die on a mountainside. Anyway, Laius had been killed by a whole gang of robbers, at a place where three roads meet. But this mention of ‘three roads’ only provokes in Oedipus, for the first time, a terrible doubt. Fiercely he quizzes Jocasta for further details. The more he hears about where this happened and what Laius looked like, the more his fears multiply. Eventually he can hold back no longer. He pours out the story of his life: how, when a young man living in Corinth, he himself had been told by the oracle that he would one day kill his father Polybus and marry his mother; that he had run away from home to ensure that no such horror would ever come to pass; and that when he had come to a place where three roads met, he had encountered a distinguished gentleman in a carriage. This man’s servants had pushed him roughly out of the way, their master had viciously lashed out at him as they passed, and, in a fit of rage, Oedipus had killed them all. If it was true that this man was Laius, he cries, ‘there is no mortal more wretched than I’.1
此时俄狄浦斯开始怀疑自己可能是杀害拉伊俄斯的凶手，但还不知道拉伊俄斯是他的父亲。但接下来是第二阶段，俄狄浦斯回忆起伊俄卡斯塔说她的丈夫被一伙强盗杀害，并且有一个目击者，一个牧羊人，逃走了。证实了这一点，伊俄卡斯塔眼前一亮。“占卜用的无花果”，她喊道，并派人去叫那个男人重复他的故事。然而，首先，一位信使从科林斯抵达，宣布波吕波斯自然死亡。俄狄浦斯欣喜若狂。他不再需要担心神谕预言他会杀死他的父亲。然而，信使只是想进一步安抚他，然后告诉俄狄浦斯一个令人震惊的消息：波吕波斯无论如何都不是他的父亲。他，这位使者，知道这一点，因为是他本人将俄狄浦斯还是婴儿的时候交给了波吕波斯。这个孩子是拉伊俄斯的一位仆人给他的，这位仆人就是现在正在前往宫廷的路上的牧羊人。此时伊俄卡斯塔终于意识到了真相，并惊恐地尖叫着俄狄浦斯必须放弃他的搜索。但他说“我必须追寻这条路到底”，并粗暴地挥手将她推到一边。“哦，迷失了，该死的”她哭着离开了舞台。“这是我永远对你说的最后也是唯一的话！”
By this point Oedipus has come to suspect that he himself might have been Laius’s killer, but has no idea yet that Laius was his father. But then comes the second stage, when Oedipus recalls Jocasta saying her husband had been killed by a whole gang of robbers, and that there had been a witness, a shepherd, who escaped. Confirming this, Jocasta brightens. ‘A fig for this divination’, she cries, and sends for the man to repeat his story. First, however, a messenger arrives from Corinth, to announce that Polybus has died a natural death. Oedipus is ecstatic. No longer need he worry about the oracle’s prediction that he would kill his father. However, the messenger, only trying to reassure him further, then gives Oedipus the shattering news that Polybus had not been his father anyway. He, the messenger, knew this, because it was he himself who had handed over Oedipus to Polybus as a baby. He had been given the child by one of Laius’s servants, the very shepherd now on his way to the court. At this Jocasta finally realises the truth and screams in horror that Oedipus must abandon his search. But saying ‘I must pursue this trail to the end’, he brutally waves her aside. ‘Oh lost and damned’ she cries, leaving the stage. ‘This is my last and only word to you forever!’
至此，伊俄卡斯塔已经了解了所发生事情的全部真相，但俄狄浦斯仍然对自己的真实出身视而不见。于是第三阶段开始了，牧羊人到来提供了确凿的证据。他透露，他被命令杀死这个婴儿，因为神谕预言拉伊俄斯国王将被他的儿子杀死。这个孩子是拉伊俄斯自己的，他不忍心让它等死，所以把它传给了这个来自科林斯的人。俄狄浦斯心中的冰冷恐惧终于笼罩了他的心。“天哪，”他喊道，“我再也不能看到你了。”
By this point Jocasta can see the whole truth of what has happened, but Oedipus is still blind to his true parentage. Thus begins the third stage, when the shepherd arrives to provide the clinching evidence. He had been ordered to kill the baby, he reveals, because an oracle had foretold that King Laius would be killed by his son. The baby was Laius’s own, and he had not had the heart to leave it to die, so he had passed it to this man from Corinth. The icy fear that has been creeping up on Oedipus finally closes round his heart. ‘Oh light’ he cries, ‘never may I look on you again’.
随着第三次揭露，全部真相都被揭露了，然后我们听到它报道了这导致了幕后的情况。俄狄浦斯心烦意乱地冲进宫殿去面对伊俄卡斯塔，却发现她正从自杀的绳子上荡来荡去。他抢下了她裙子上的一枚金胸针，反复用刀尖刺入他的眼球，直到他的脸上流满了血。当然，这一切都没有直接表现出来，但我们随后看到了它已将俄狄浦斯降低到何种状态。他盲目地跌跌撞撞地回到阳光下，对自己犯下的“所有人类的污秽都在一桩罪行中复合”表示完全的恐惧。他唯一的愿望就是死，淹死在大海的深处。
With this third revelation the whole truth is out, and we then hear it reported what this has led to offstage. Oedipus has rushed distracted into the palace to confront Jocasta, only to find her swinging from the rope with which she has killed herself. He has snatched down one of the gold brooches on her dress and driven its point repeatedly into his eyeballs until his face streams with blood. None of this, of course, has been shown directly, but we then see the state to which it has reduced Oedipus. He stumbles blindly back out into the sunlight, expressing total horror at how he has been guilty of ‘all human filthiness in one crime compounded’. He wishes for nothing but death, to be drowned in the depths of the sea.
这时克瑞翁登场，接管一切。他明确表示，他并不是来责备俄狄浦斯的罪行的。他拒绝了俄狄浦斯要求立即放逐他的请求。他已经召唤了俄狄浦斯的两个年幼的女儿安提戈涅和伊斯墨涅，俄狄浦斯恳求克瑞翁照顾她们，因为有这样一个被诅咒的父亲，没有人愿意嫁给她们。当俄狄浦斯转身返回宫殿，双臂搂住女孩们时，克瑞翁命令她们必须留在后面。俄狄浦斯提出抗议，但克瑞翁坚持说：“不要再发号施令了。” 遵守。你的统治结束了。合唱团通过观察“这就是俄狄浦斯，最伟大的人；这就是俄狄浦斯”来指出寓意。他掌握着最深奥秘的钥匙，并因其巨大的繁荣而受到所有人的羡慕。” 但“没有人能被称为幸福的，直到那一天，他能平静地将幸福带入坟墓”。
At this point Creon enters, to take charge. He makes clear he has not come to reprove Oedipus for his misdeeds. He rejects Oedipus’s plea that he should be instantly banished. He has already called for Oedipus’s two young daughters, Antigone and Ismene, and Oedipus pleads with Creon to look after them, since with so cursed a father, no one will ever want to marry them. As Oedipus turns back towards the palace, his arms round the girls, Creon orders that they must stay behind. Oedipus protests, but Creon insists: ‘command no more. Obey. Your rule is ended.’ The chorus points the moral by observing how ‘this was Oedipus, the greatest of men; he held the key to the deepest mysteries and was envied by all men for his great prosperity’. But ‘no one can be called happy until that day when he carries his happiness down to the grave in peace’.
这部伟大的戏剧就此结束，柯勒律治将其描述为“有史以来计划的三个最完美的情节之一”，亚里士多德在《诗学》中比任何其他戏剧都更频繁地提到它是悲剧的典范。但我们可以注意到三点。
Thus ends the mighty drama which Coleridge described as ‘one of the three most perfect plots ever planned’ and which Aristotle, in the Poetics, mentions more often than any other play as the model of what Tragedy should be. But we may note three points about it.
首先，无论俄狄浦斯对自己了解的具体性质如何，总的来说，这部剧具有独特力量的原因很简单，那就是我们看到了一个人，面临着令人震惊的罪行，必须经历极其痛苦的过程意识到他自己负有责任。这是世界上最伟大的故事，讲述了一个人必须在宇宙范围内面对自己的罪恶感。说这不是他的错是没有意义的，因为他不知道自己在做什么，或者说他只是邪恶命运的不知情的受害者。他违反了最基本的自然法则之一。事实上，他越了解自己的罪行，就越发现自己犯下了更严重的罪行。他杀了他的父亲，这已经够糟糕的了，尽管有减轻处罚的情节。即使他反应过度，那也只是出于自卫，当然他并不知道拉伊俄斯就是他的父亲。对俄狄浦斯来说，当钱最终落下时，更糟糕的是，他意识到他也娶了自己的母亲，并与她生了四个孩子，他们不仅是他的儿子和女儿，也是他的兄弟姐妹。他因此给他带来了终生的诅咒。最后，为了结束悲剧，他导致了他深爱的妻子和母亲的死亡。他对自然法则和天国法则的违背是再彻底不过了。他们不仅是他的儿女，也是他的兄弟姐妹，他因此给他们带来了终生的诅咒。最后，为了结束悲剧，他导致了他深爱的妻子和母亲的死亡。他对自然法则和天国法则的违背是再彻底不过了。他们不仅是他的儿女，也是他的兄弟姐妹，他因此给他们带来了终生的诅咒。最后，为了结束悲剧，他导致了他深爱的妻子和母亲的死亡。他对自然法则和天国法则的违背是再彻底不过了。2
Firstly, regardless for the moment of the specific nature of what Oedipus has learned about himself, what in general gives the play its unique power is simply that we have seen a man, confronted with a shocking crime, having to go through the acutely painful process of realising that he himself had been responsible. It is the supreme story in the world of a man having to face up to his own guilt, on a cosmic scale. It is no good saying that it was not his fault because he did not know what he was doing, or that he was just the unwitting victim of a malevolent fate. He has offended against one of the most fundamental laws of nature. Indeed, the more he learns about his guilt, the more he discovers that he has been responsible for even worse crimes. It was bad enough that he had killed his father, although there had been mitigating circumstances. Even if he over-reacted, he had only been acting in self-defence, and of course he had not known that Laius was his father. What makes it far worse for Oedipus, as the penny finally drops, is the realisation that he has also then married his own mother and had four children by her, who are not only his sons and daughters but also his brothers and sisters, and on whom he he has thus brought a lifelong curse. Finally, to seal the Tragedy, he has caused the death of his beloved wife and mother. His offence against the laws of nature and of heaven could not be more complete.2
然而，当我们真正关注俄狄浦斯罪行的具体性质时，我们可能会惊讶地发现，它与我们在第二十章中分析的基本心理模式是多么奇怪地相呼应，而这种模式几乎是所有悲剧英雄的特征。在一个又一个的故事中，我们看到悲剧英雄的根本问题是他与“母亲”的联系过于紧密，因此与“父亲”的价值观相悖。3他无法成为一个完整的人，因为他无法“看到整体”。正如我们在第十六章看到的，关于“未实现的价值”，故事中主人公对“黑暗父亲形象”的反对，总是反映出他自己需要发展成为光明版的父亲：换句话说，成为一个完全的父亲。有意识的、完整的人。通常，他正是通过杀死黑暗父亲形象来实现这一点，象征着他自己的“黑暗男性气质”的最终消除，取而代之的是平衡的形象，外表坚强，内在女性化，他自己现在已经成为这样的形象。 。
When we do then focus on the specific nature of Oedipus’s crime, however, what may strike us is how strangely it echoes that basic psychological pattern we analysed in Chapter Twenty which characterises almost every hero of Tragedy. In story after story we saw how the fundamental problem of the tragic hero is that he is frozen into too close a tie with ‘Mother’ and is therefore locked in opposition to the values of ‘Father’.3 He cannot become fully a man because he cannot ‘see whole’. As we saw in Chapter Sixteen, on the ‘unrealised value’, the hero’s opposition to the ‘Dark Father-figure’ in stories always reflects his own need to develop into the light version of the father: in other words, to become a fully conscious, whole man. And often he achieves this precisely in the act of slaying the Dark Father-figure, symbolising the final elimination of the ‘dark masculine’ in himself, to replace it with the balanced figure, outwardly strong, inwardly feminine, which he himself has now become.
当然，在他们唯一的一次会面中，拉伊俄斯国王对俄狄浦斯来说是一个“黑暗的父亲形象”：一个傲慢的暴君，当他把卑微的旅行者从路上扫下来并殴打他时，他的行为表现出一种片面的男性气概。但俄狄浦斯也仍然被困在自己的不完整状态中。他不知道他杀了他的父亲，就像他不知道他娶了他的母亲一样。正是因为他不知道的东西太多，他还无法开始“看到整体”。这就是为什么我们经常看到他的行为冲动、不成比例，并且以一种显示出他无助地受自己的自我支配的方式：就像在戏剧开始之前，他在路上疯狂地猛烈攻击，杀死了拉伊俄斯并杀死了他。他的整个聚会。这就是为什么即使他已经成为受人尊敬的国王15年，他在压力下仍然很容易发脾气：再次遵循三法则，首先是泰瑞西亚斯，然后是克瑞翁，然后是伊俄卡斯塔。他自己也被一种可怕的傲慢所冲昏了头脑。他已经成为一个骄傲、盲目、不成熟的暴君——直到他最终面对任何人都可能面临的最强大的敌人。
Certainly King Laius has been a ‘dark father-figure’ to Oedipus at their only meeting: an arrogant tyrant, behaving in a one-sidedly masculine way as he sweeps the lowly traveller off the road and beats him over the head. But Oedipus has also remained locked into his own incomplete state. He does not know he has killed his father, any more than he is aware that he has married his mother. Precisely because there is so much he does not know, he cannot yet begin to ‘see whole’. And this is why we see him so often acting impulsively, disproportionately and in a way which shows him helplessly at the mercy of his own ego: as when, before the play begins, he has lashed out so wildly on the road, killing Laius and his entire party. This is why, even after he has been a revered king for 15 years, he so easily loses his temper when under pressure: again by the Rule of Three, firstly with Teiresias, then with Creon, then with Jocasta. He himself has been carried away by a terrible hubris. He has become a proud, blind, immature Tyrant – until he is finally brought up against the most almighty nemesis any man could ever have to face.
只有当俄狄浦斯意识到他自己无意中对他所有的不幸负有责任时，他那铠甲般的自我才最终被彻底粉碎。但我们看到了什么？这个故事最引人注目的特点之一是最后发生在俄狄浦斯身上的事情。虽然这是一场悲剧，但他并没有死。他的妻子可能自杀了。他的孩子可能会受到诅咒。他本人可能已经成为全人类厌恶的对象。但是，与其他悲剧英雄不同的是，俄狄浦斯仍然活着。他身上发生的最明显的事情就是他变成了盲人——就像泰瑞西亚斯一样。俄狄浦斯能够更长久地看到外部世界因为他的视线已经转向内部。他现在可以看到那些隐藏的东西了。早些时候，他在整个故事中没有说过比他轻蔑地解雇泰瑞西亚斯更傲慢的台词，因为他对老人发了脾气，因为他说的是事实。“生活在永恒的黑夜里，”俄狄浦斯冷酷地说，“你不能伤害我，也不能伤害任何看到光明的人。” 暴君以为自己能看到光明，而就在他最盲目的时候。但现在他也生活在同一个永恒的夜晚，他能看到。现在，他盲目的自我已经从方程式中消失了，他终于走上了成熟的理解之路。
Only when Oedipus realises that he himself has unwittingly been responsible for all his misfortunes is his armour-plated ego at last utterly crushed. But what do we see then? One of the most striking features of the story is what happens to Oedipus at the end. Although this is a tragedy, he does not die. His wife may have committed suicide. His children may be cursed. He himself may have become an object of revulsion to all mankind. But, unlike other tragic heroes, Oedipus is still alive. The most obvious thing which has happened to him is that he has become blind – just like Teiresias. Oedipus can longer see the outward world because his sight has turned inwards. He can now see those things which were hidden. He had earlier uttered no more hubristic line in the entire story than his contemptuous dismissal of Teiresias, after losing his temper with the old man for speaking what was in fact nothing less than the truth. ‘Living in perpetual night’ said Oedipus witheringly, ‘you cannot harm me, nor any man else that sees the light’. The Tyrant had thought he himself could see the light, just when he was most blind. But now that he too is living in the same perpetual night, he can see. Now his blinding ego has been removed from the equation, he is at last on the way to mature understanding.
智慧老人俄狄浦斯
Oedipus the Wise Old Man
当索福克勒斯在六十多岁时写《俄狄浦斯暴君》时，他想让这部剧独立出来。但20年后，当他漫长的生命即将结束时，他制作了续集。就其严肃的强度和永恒感而言，《科洛诺斯的俄狄浦斯》是伟大艺术家典型的“晚期作品”，就像提香和伦勃朗的晚期画作或贝多芬的最后四重奏一样。
When Sophocles wrote Oedipus Tyrannos in his late sixties, he intended the play to stand alone in its own right. But 20 years later, when approaching the end of his long life, he produced its sequel. In its austere intensity and sense of eternity, Oedipus at Colonus is a typical ‘late work’ of a great artist, like the late paintings of Titian and Rembrandt or the final quartets of Beethoven.
我们现在看到俄狄浦斯是一个老人。灾难发生后的很长一段时间里，克瑞翁允许他继续住在底比斯。但最终他同意了人民的要求，将他放逐，并得到了俄狄浦斯的两个儿子埃忒奥克勒斯和波吕尼刻斯的支持。他们已经成长为骄傲、傲慢的年轻人，并最终陷入了致命的竞争，以继承他们父亲的前王位，而王位仍然由年迈的克瑞翁担任摄政王。他可爱的女儿安提戈涅和伊斯墨涅则恰恰相反。当伊斯墨涅留在底比斯进行短暂观察时，安提戈涅坚持陪伴她失明的父亲流亡，成为他忠实的向导和伴侣；随着戏剧的开始，我们看到他们到达了科洛努斯，这是雅典城外的一个圣地，那里的活岩上有一个深深的裂缝，
We now see Oedipus as an old man. For a long time after the catastrophe, Creon had allowed him to continue living in Thebes. But eventually he agreed to the people’s demand that he should be banished, and this was supported by Oedipus’s two sons, Eteocles and Polynices. They have grown up into proud, arrogant young men, and eventually become locked in deadly rivalry to succeed to their father’s former throne, still occupied as regent by the ageing Creon. His loving daughters, Antigone and Ismene, are the very opposite. While Ismene remains in Thebes to keep a watching brief, Antigone has insisted on accompanying her blind father into exile as his faithful guide and companion; and as the play opens we see them arriving at Colonus, a sacred spot outside the city of Athens, where there is a deep cleft in the living rock, shaded by trees (Colonus was where Sophocles himself had been born).
老人和他可爱的女儿的形象立即引起了原型的共鸣，就像普洛斯彼罗与米兰达的陪伴一样。科洛诺斯人民发现了他们，并解释说他们不能留在这个圣地。当他们得知这个衣衫褴褛的老者的身份时，他们都惊呆了。但在安提戈涅和俄狄浦斯恳求他们怜悯这个可怜无助的被遗弃者之后，他们同意应该叫他们的国王，伟大的忒修斯来对俄狄浦斯的命运发表声明。
At once the image of the old man and his loving daughter strikes an archetypal chord, as in the sight of Prospero accompanied by Miranda. The people of Colonus discover them and explain that they cannot stay in this holy place. When they learn the identity of this ragged old man, they are horrified. But after Antigone and Oedipus have implored them to have pity on a poor, helpless outcast, they agree that their king, the great Theseus, should be called to pronounce on Oedipus’s fate.
这时，另一个女儿伊斯梅涅到来了，在三个人都表达了对重聚的喜悦之后，她报告说底比斯的一切都不太好。波吕尼刻斯已被他的兄弟赶出城，现在仍在集结军队返回夺取王位。但是，更糟糕的是，神谕宣布底比斯未来的安全取决于俄狄浦斯返回城外生活、死亡和埋葬。兄弟们都知道这一点。因此，每个人都会努力赢得俄狄浦斯的控制权，向人们证明，只有他拥有能够保证城市繁荣的法宝。因此，俄狄浦斯在晚年似乎即将成为他儿子们无情的自私自利的棋子。“黑暗男性气质”再次出现在上升。与之相对但无能为力的是以女儿们为代表的“轻女性”。中间站着饱受摧残、年迈的英雄俄狄浦斯，他将如何衡量？
At this point the other daughter Ismene arrives and, after all three have expressed joy at being lovingly reunited, she reports how all is far from well in Thebes. Polynices has been driven out of the city by his brother and is even now gathering an army to return to seize the throne. But, what makes it worse, an oracle has pronounced that the future safety of Thebes depends on Oedipus returning to live, die and be buried just outside the city. The brothers know this. Each will therefore be striving to win control of Oedipus, to demonstrate to the people that he alone possesses the talisman which can guarantee the city’s prosperity. Thus does it seem that, in his old age, Oedipus is about to become a pawn to the ruthless egotism of his sons. The ‘dark masculine’ is again very much in the ascendant. Opposed to it but powerless is the ‘light feminine’, represented by the daughters. In the middle stands the battered, aged hero Oedipus, How will he measure up?
首先，忒修斯带着他的王室随从进来，立刻就表现出了“好国王”的典范。举止高贵，权威强大，他也完全同情俄狄浦斯的困境：
First Theseus enters, with his royal retinue, showing himself at once to be the very model of a ‘Good King’. Noble in bearing, strong in authority, he is also entirely sympathetic to Oedipus’s plight:
“我没有忘记自己在流放中的成长经历，
‘I do not forget my own upbringing in exile,
就像你一样，我独自战斗了多少次，
Like yours, and how many times I battled, alone,
在异国他乡，我的生命面临着危险。
With dangers to my life in foreign lands.
我无法拒绝任何同胞，
I could not turn from any fellow-man,
你来就来，或者拒绝他的帮助。
Coming as you come, or deny him help.
我知道我是人；在未来的日子里
I know that I am man; in the day to come
我的那部分将和你的一样，不多也不少。
My portion will be as yours, no more, no less.’
当俄狄浦斯解释他的处境时，忒修斯起初不明白为什么他不想回到底比斯的家。但俄狄浦斯明确表示，他唯一想要的就是被允许留在这儿，在这个神圣的地方，“白色科洛诺斯”。他担心他的儿子们会找到他绑架他。富有同情心的忒修斯允许他留下来，并承诺完全保护他。有了这种安全感，俄狄浦斯经受考验的时刻就到了。
When Oedipus explains his situation, Theseus at first cannot understand why he would not wish to return home to Thebes. But Oedipus makes it clear that the only thing he wants is to be allowed to stay right here, in this holy place, ‘white Colonus’. He is fearful that his sons will seek him out to abduct him. The compassionate Theseus allows him to remain and promises him complete protection. Armoured with this sense of security, the time has come for Oedipus to be put to the test.
剧中的其余部分再次遵循“三法则”，展示了俄狄浦斯必须经历三场磨难。第一个故事是从底比斯国王克瑞翁的意外到来开始的。他发表了一篇感人至深的长篇演讲，宣称他对所发生的一切深感抱歉，并且为了底比斯和俄狄浦斯本人，他现在必须恳求俄狄浦斯与他一起回家。这一切听起来都很有说服力，就好像克瑞翁的行为只是出于最高的动机。但老人一分钟都没有被愚弄。克瑞翁说完后，俄狄浦斯立即对他大发雷霆：“魔鬼，没有什么似是而非的论据是你不能利用的！” 他能看出克瑞翁只是在装模作样，诱骗他返回底比斯，以达到克瑞翁自己的黑暗目的。果然，他命令他的追随者首先抓住伊斯墨涅，然后抓住她的妹妹，最后抓住俄狄浦斯本人，意图用武力将三人拖回底比斯。千钧一发之际，忒修斯和他的手下介入，俄狄浦斯和他的女儿们团聚，克瑞翁被立即命令从他来的地方返回。
Again shaped by the Rule of Three, the rest of the play shows Oedipus having to go through three ordeals. The first begins with the unexpected arrival from Thebes of King Creon. He makes a long moving speech, declaring how profoundly sorry he is for all that has happened and how, for the sake both of Thebes and Oedipus himself, he must now implore Oedipus to return home with him. It all sounds persuasive, as if Creon is acting only from the highest motives. But the old man is not fooled for a minute. When Creon has finished, Oedipus immediately explodes at him: ‘Devil, there is no specious argument you cannot twist to your cunning purposes!’ He can see how Creon has only been putting on an act, to trick him into returning to Thebes for Creon’s own dark purposes. Sure enough, no sooner has Oedipus called his bluff than Creon reveals the darkness behind his ‘light’ persona by ordering his followers to seize, first Ismene, then her sister and finally Oedipus himself, with the intention of dragging all three back to Thebes by force. In the nick of time, Theseus and his men intervene, Oedipus and his daughters are reunited and Creon is summarily ordered back from where he had come.
第二次测试紧随其后，忒修斯宣布一位神秘的年轻陌生人到来，请求有机会与俄狄浦斯交谈。俄狄浦斯立刻猜对了，那是波吕尼刻斯，他疏远而流放的儿子，一开始拒绝与他说话。但是，当安提戈涅请求人们倾听他的声音时，波吕尼刻斯也发表了感人的讲话，对他父亲的困境表示最深切的同情，现在他明白了这一点，因为他自己也是一个流亡者。但是，他继续说，他们的故事现在可以有一个幸福的结局了。他召集了一支由包括他自己在内的七位英雄战士领导的盟友军队，计划带领这支军队占领底比斯，并恢复俄狄浦斯的家园和昔日的荣耀。俄狄浦斯又是没有被愚弄。他开始说“听着，流氓”，提醒他的儿子，是他，波吕尼克斯，带头谴责他的父亲乞讨和流放。俄狄浦斯严厉地警告说，如果波吕尼刻斯带领他的军队进攻底比斯，这只会有一个结果：两兄弟最终会互相残杀。他咒骂着儿子，把他打发走了。安提戈涅更加温和地向她的兄弟解释说，如果他明智并且真正关心底比斯的利益，他应该放下军队，安静地返回他的新家。波吕尼克斯看到自己的狡猾计划落空，目瞪口呆。他解释说，一旦军队被遣送回国，就无法再次集结。尽管他父亲有预言，他现在必须继续武装进攻底比斯。他必须永远告别他的姐妹们。
The second test immediately follows when Theseus announces that a mysterious young stranger has arrived, begging for a chance to speak to Oedipus. Oedipus at once guesses correctly it is Polynices, his estranged and exiled son, and at first refuses to speak to him. But when Antigone pleads that he should be heard, Polynices also makes a moving speech, expressing deepest sympathy for his father’s plight, which he now understands because he is an exile himself. But, he continues, there can now be a happy ending to both their stories. He has summoned an army of allies, led by seven heroic warriors including himself, with which he plans to take Thebes and to restore Oedipus to his home and former glory. Again Oedipus is not fooled. ‘Listen scoundrel’ he begins, reminding his son that it was he, Polynices, who took the lead in condemning his father to beggary and exile. If Polynices leads his army against Thebes, Oedipus grimly warns, this can only have one outcome: the two brothers will end up killing each other. He dismisses his son with a curse. Antigone explains more gently to her brother that, if he is wise and really has the interests of Thebes at heart, he should stand down his army and return quietly to his new home. Polynices is dumbstruck at seeing his devious plan fall apart. Once an army has been sent home, he explains, it cannot be gathered together again. Despite his father’s prophecy, he must now continue his armed advance on Thebes. He must take leave of his sisters forever.
这直接导致了俄狄浦斯的第三次截然不同的考验，天空中越来越响亮的雷声预示着这一考验。俄狄浦斯说道：“上帝正在向天空发出他的声音，召唤我去死。”他请求紧急召唤忒修斯。当忒修斯到达时，俄狄浦斯把他拉到一边，私下解释说，他有一个非常重要的秘密要传授，除了忒修斯的继承者雅典统治者之外，这个秘密不能传给任何人。他即将以一种神秘的方式死去。只有忒修斯会看到它，而且他去世的地点和方式绝对不能泄露。只要遵守这个条约，就将永远保证雅典的安全，就像他被转移到底比斯就保证了这座城市的安全一样。俄狄浦斯说：“现在是离开的时候了：上帝之手指引着我”。呼唤他的女儿们加入他们，他转身“以缓慢而坚定的步伐带路，就像一个受到内在愿景启发的人一样”。当他们四人下降到地面上的神圣裂缝时，我们只能从二手资料中听到接下来发生的事情。首先，安提戈涅和伊斯墨涅给他们的父亲洗澡，并给他穿上新衣服。他向他们致以庄严的祝福，并说道：
This leads straight into Oedipus’s third, very different ordeal, which is heralded by increasingly loud peals of thunder from the heavens. ‘God is sending his voice across the sky to summon me to death’ says Oedipus, asking for Theseus to be called urgently. When Theseus arrives, Oedipus takes him aside to explain privately that he has a very important secret to impart, which must not be passed on to anyone except Theseus’s successors as rulers of Athens. He is about to die in a mysterious way. Only Theseus will see it, and the place and manner of his passing must never be disclosed. So long as this pact is kept, it will guarantee the safety of Athens forever, just as his removal to Thebes would have guaranteed the safety of that city. ‘Now’ says Oedipus, ‘it is time to go: the hand of God directs me’. Calling his daughters to join them, he turns and ‘leads the way with slow but sure steps, as one inspired with inward vision’. We only hear at second hand what happens next, as the four of them descend into the sacred cleft in the ground. First Antigone and Ismene wash their father, and dress him in new clothes. He pronounces on them his solemn blessing and says:
“这就是我的一切的终结，也是你照顾我的长期任务的终结。我知道这有多难。然而，只有一个词让这一切变得更轻松：爱。我爱你，无人能及。”
‘This is the end of all that was I, and the end of your long task of caring for me. I know how hard it was. Yet it was made lighter by one word: love. I loved you as no one else has ever done.’
当一个可怕的声音从天上传来，喊着“俄狄浦斯，俄狄浦斯，是时候了”，他请求忒修斯保护女儿们，然后让女儿们离开，这样他就可以单独和忒修斯在一起了。然后，俄狄浦斯以一种无法描述但让忒修斯目瞪口呆的方式从凡人的视线中消失了：
As a terrifying voice sounds from heaven, calling out ‘Oedipus, Oedipus, it is time’, he asks Theseus to protect the girls, before asking his daughters to leave, so he can be left alone with Theseus. Then, in a way which cannot be described but which leaves Theseus looking stunned, Oedipus passes from mortal sight:
“也许众神的引导之灵带走了他，或者大地的地基轻轻地打开并毫无痛苦地接纳了他。可以肯定的是，他被带走时没有任何痛苦，没有悲伤或痛苦：他的离去比任何其他人都更加美妙。
‘Maybe a guiding spirit from the gods took him, or the earth’s foundations gently opened and received him with no pain. Certain it is that he was taken without a pang, without grief or agony: a passing more wonderful than that of any other man.’
因此，在这崇高的和解基调中，曾经的悲剧英雄俄狄浦斯的故事结束了。让他的女儿们悲伤不已，但忒修斯向他们保证，她们的父亲现在已被众神所接受，并且得到了平安。合唱团说：“眼泪到此结束，不再哀叹。” 多年来，这一事件始终如一。
So, on this sublime note of reconciliation, ends the story of the once-tragic hero Oedipus; leaving his daughters to grieve but to be assured by Theseus that their father is now received by the gods and at peace. ‘This is the end of tears’ says the Chorus, ‘no more lament. Through all the years, immutable stands this event.’
这个非凡的插曲可能提醒我们，任何故事中的英雄在年老时平静地死去是多么罕见。还有其他例子，例如伟大英雄亚瑟王的去世，在某些方面与俄狄浦斯的去世并没有什么不同，我们将回到这一点。但是什么让俄狄浦斯之死如此尤其值得注意的是，它应该发生在一个也是世界上最大悲剧之一的英雄生命的尽头。悲剧的自然结局是，它的中心人物已经被自我中心蒙蔽了双眼，与自我分离，以至于他或她必须暴力死亡，因为这是实现更广泛的完整状态的唯一方式。恢复了。我们在俄狄浦斯的一生中看到过，他被傲慢所蒙蔽，这当然导致了灾难性的后果。但在那场悲剧的最后几幕中，俄狄浦斯本人并没有以暴力结束。所发生的事情是，他的自我被粉碎了，他内心的眼睛被打开了，这与我们期望在重生情节塑造的故事中看到的方式非常相似。
This remarkable episode may remind us how rare it is for the hero of any story to be shown dying peacefully in old age. There are other instances, such as the passing of the great hero King Arthur which in some ways is not unlike that of Oedipus, and to this we shall return. But what makes the death of Oedipus so particularly remarkable is that it should come at the end of the life of someone who has also been the hero of one of the world’s greatest tragedies. The natural ending of Tragedy is that its central figure has become so blinded by egotism, so split off from the Self, that he or she must come to a violent death, because this is the only way in which the wider state of wholeness can be restored. We have seen Oedipus at the time in his life where he was blinded by hubris in this way, and certainly this led to catastrophic consequences. But in the final scenes of that tragedy Oedipus himself did not come to a violent end. What happened was that his ego was crushed and his inward eyes were opened, in very much the way we expect to find in a story shaped by the plot of Rebirth.
这正是我们所看到的俄狄浦斯时代在科洛诺斯发生的事情，因此被废黜的国王带着他的女儿在地球上游荡的景象就像李尔王和科迪莉亚一样，成为智者和阿尼玛的形象。当然，在故事的结尾，身体虚弱的俄狄浦斯像李尔王一样，恢复了他昔日的王权，但是以一种全新的精神方式。从他死亡的超自然伴随中，我们毫无疑问地知道他正在实现一些非凡的更高的命运。当他最终“被诸神带走”时，以一种甚至无法描述的方式奇迹般地，这提供了文学中最不可磨灭的形象之一：一个人最终找到了自己内心深处的身份，因为他融入并成为其中之一。宇宙。
This is precisely what we see having taken place by the time of Oedipus at Colonus, so that the sight of the deposed king wandering the earth with his daughter becomes, like Lear and Cordelia, an image of the Wise Old Man and the Anima. Certainly by the end of the story the physically frail Oedipus is, like Lear, recovering his old kingly authority, but in a wholly new, spiritual way. We are left in no doubt from the supernatural accompaniments to his death that he is fulfilling some extraordinary higher destiny. And when he is at last ‘taken by the gods’, in a way so miraculous it cannot even be described, this provides one of the most indelible images in literature of a man finally finding his inmost identity as he merges into and becomes one with the universe.
我们在《俄狄浦斯在科洛诺斯》中也看到了它与《俄狄浦斯暴君》完全对比的情况，是整个剧中“黑暗男性”和“光明女性”之间的中心对立。在早期的戏剧中，“轻柔女性”的价值几乎完全缺失，这一点非常引人注目。在这个故事的大部分时间里，没有人代表过爱和无私的感觉。没有人能看到整体，直到为时已晚。即使是日益忧心忡忡的伊俄卡斯塔，也只是从她自己的私利出发，与她丈夫的私利紧密相连。但在后来的戏剧中，整个动作都围绕着这种戏剧性的对比展开。克瑞翁和波吕尼克斯代表了自我的“黑暗男性”世界，他们沉迷于谁应该控制底比斯的残酷权力斗争中。“轻柔女性”以安提戈涅和伊斯墨涅为代表，表现得像双胞胎阿尼玛-通过剧中的人物对女性给予如此强烈的强调。在他们之间站立的是俄狄浦斯，现在完全与“光明的女性”对齐，并得到智慧的“好国王”忒修斯的支持，他代表了男性力量和女性同情心之间的完美平衡。
What we also see in Oedipus at Colonus, in a way which contrasts it completely with Oedipus Tyrannos, is the central opposition throughout the play between the ‘dark masculine’ and the ‘light feminine’. In the earlier play the ‘light feminine’ value had been conspicuous by its almost complete absence. No one through most of that story had represented love and selfless feeling. No one sees whole until it is too late. Even the increasingly apprehensive Jocasta is presented only really in terms of her own self-interest, wrapped up with the self-interest of her husband. But in the later play, the whole of the action centres round this dramatic contrast. The ‘dark masculine’ world of the ego is represented by Creon and Polynices, obsessively caught up in the ruthless power struggle raging over who should control Thebes. The ‘light feminine’ is represented by Antigone and Ismene, acting like twin anima-figures to give such powerful emphasis to the feminine through the play. And in between them stands Oedipus, now totally aligned with the ‘light feminine’, and supported by Theseus, the wise ‘Good King’ who represents a perfect balance between masculine strength and feminine compassion.
当俄狄浦斯在早期戏剧中屈服于愤怒时，正如他依次对泰瑞西阿斯、克瑞翁和伊俄卡斯塔所做的那样，犯错的始终是被自私蒙蔽的他。当他在后面的剧中勃然大怒时，正如他对克瑞翁和波吕尼克斯所做的那样，他对虚伪的面具表达了正义的愤怒，在虚伪的面具后面，他们每个人都试图赢得他对自己以自我为中心的支持的支持。克瑞翁随后残酷地绑架了女孩们，这充分证明了俄狄浦斯的愤怒是合理的。波吕尼刻斯揭示了他将自己的意志强加于底比斯的强烈愿望，正如明智的俄狄浦斯现在所清楚地看到的那样，这最终只能毁灭他的两个儿子。
When Oedipus gives way to anger in the earlier play, as he does in turn with Teiresias, Creon and Jocasta, it is always he, blinded by his egotism, who is in the wrong. When he explodes in fury in the later play, as he does with Creon and Polynices, he is expressing righteous anger at the mask of hypocrisy behind which they are each trying to win over his support for their own egocentric ends. The force of Oedipus’s rage is shown to be fully justified by the ruthless way in which Creon then abducts the girls. Polynices reveals his obsessional desire to impose his will on Thebes, which, as the wise Oedipus can now see so clearly, can only end in destroying both his sons.
正是这种“黑暗的男性气质”和“光明的女性气质”之间的极性，在索福克勒斯写的关于这个家庭的故事的第三部戏剧中占据了令人难忘的主导地位。安提戈涅给悲剧循环画上了句号：尽管索福克勒斯在写这本书之前将近四十年，但他在俄狄浦斯死前和变形的故事中达到了一个美妙的结局，就在他自己去世之前。
It is precisely this polarity between the ‘dark masculine’ and the ‘light feminine’ which so memorably dominates the third play Sophocles wrote on the story of this family. Antigone brings the tragic cycle to its conclusion: even though Sophocles wrote it nearly four decades before he was to come to the wonderful point of resolution which he achieved in the story of Oedipus’s death and transfiguration, just before his own death.
安提戈涅：光明女性的胜利
Antigone: The triumph of the light feminine
在写《俄狄浦斯王》的十年前，索福克勒斯就已经受到启发，写下了这部悲剧，讲述了俄狄浦斯家族其他成员的结局。虽然这是三部戏剧中的第一部，但其主题的种子包含在《俄狄浦斯在科洛诺斯》的结尾几行中，其中安提戈涅和伊斯墨涅得到了忒修斯安全返回底比斯的承诺，看看是否有他们可以采取一切措施来“阻止毁灭我们兄弟的血潮”。
Ten years before writing Oedipus Tyrannos Sophocles had already been inspired to write the tragedy which shows how the rest of Oedipus’s family ended up. Although this was the first of the three plays to be written, the seeds of its theme are contained in the closing lines of Oedipus at Colonus, where Antigone and Ismene are given Theseus’s promise of a safe journey back to Thebes, to see whether there is anything they can do to ‘stem the tide of blood that dooms our brothers’.
当安提戈涅打开时，为时已晚。波吕尼刻斯率领他的盟友“七人攻打底比斯”，猛攻了该城的七个城门。他们的进攻被击退，但在最后一次血战中，波吕尼刻斯和埃忒奥克勒斯两兄弟互相残杀，正如他们父亲所预言的那样。冷酷而年老的克瑞翁现在是这座城市无可争议的统治者，他下令为埃忒奥克勒斯作为这座城市勇敢的捍卫者的遗体举行一切荣耀的埋葬仪式。波吕尼克斯作为叛徒的入侵者，必须将其留在城门外的平原上，任由狗和食腐鸟啄食。凡敢违抗此命令者，一律处死。
By the time Antigone opens, it is too late. Polynices has led his allies, ‘seven against Thebes’, to storm the seven gates of the city. Their assault has been beaten off but, in the last encounter of a bloody battle, the two brothers, Polynices and Eteocles, had killed each other, exactly as their father foretold. The grim and aged Creon, now the undisputed ruler of the city, orders that the body of Eteocles, as its brave defender, should be given all honourable rites of burial. That of Polynices, as the traitrous invader, must be left unburied on the plain outside the gates, to be picked at by dogs and carrion birds. Anyone who dares disobey this order shall be put to death.
该剧一开始，安提戈涅告诉她的妹妹伊斯墨涅，她打算违抗克瑞翁的命令，为他们的兄弟举行一场适当的葬礼。伊斯梅涅抗议说这太疯狂了：“我们是女人，我们不应该与男人作战”。安提戈涅说，那么她必须独自承受她的疯狂：“没有任何惩罚可以剥夺我光荣的死亡。”
The play begins with Antigone telling her sister Ismene that she intends to defy Creon’s order by giving their brother a proper burial. Ismene protests that this would be madness: ‘we are women, it is not for us to fight against men’. Antigone says that then she must be left alone with her madness: ‘There is no punishment can rob me of my honourable death.’
然后我们看到克瑞翁国王告诉他的议会，他现在的最高职责必须是保持底比斯的统一。他们已经看到太多证据表明，当这座城市分裂时，灾难将会降临到这座城市。这就是为什么他的遗嘱现在必须被视为法律，也是为什么他的第一个法令是禁止埋葬叛徒波吕尼刻斯。他使自己成为了一个彻头彻尾的独裁者，当他以此体现“片面男性气概”的信念时，即为了共同利益，权力和秩序必须高于一切，一名哨兵进来报告说，波吕尼刻斯的尸体已经被泥土覆盖了。克瑞翁勃然大怒，立即怀疑有人一定是受贿才这么做的：“金钱是人类的诅咒，没有比这更大的了。” 这就是摧毁城市的原因。他无法相信有人会出于更高的原因这样做。
We then see King Creon telling his council that his highest duty must now be to keep Thebes united . They have seen too much evidence of what disaster can befall the city when it is divided. This is why his will must now be considered as law, and why his first edict has been to prohibit the burial of the traitor Polynices. He has made himself a complete dictator, and while he is thus exemplifying the ‘one-sided masculine’ belief that, for the sake of the common good, power and order must come above all else, a sentry enters to report that Polynices’ corpse has been covered with earth. Creon explodes with rage, and immediately suspects that someone must have been bribed to do this: ‘Money’s the curse of man, none greater. That’s what wrecks cities.’ He cannot believe that anyone would have done this for higher reasons. He tells the sentry that unless he can track down the criminal who has defied his edict, the sentry will pay with his life.
不久之后，哨兵凯旋归来。他把尸体上的泥土取出来，然后仔细观察谁可能会再次把它盖起来，结果他当场抓住了一个女人。这是安提戈涅。哨兵知道她会死，但他会得到金钱的奖励，而且，无论如何，如果他没有抓住罪魁祸首，他自己也会被处死。克瑞翁问安提戈涅她是否知道他的圣旨。当然，她回答道，但“这个命令不是来自上帝”，而且“我认为你的法令不足以推翻上帝和天堂不成文的、不可改变的法律，你只是一个人”。她知道她将因此而死，而克瑞翁最好继续杀了她。她坚称，为弟弟举行适当的葬礼以纪念他并没有什么可耻的。克瑞翁坚持认为，相反，尊重叛徒就是羞辱为拯救国家而牺牲的兄弟。“善恶同等”就是对善人的侮辱。安提戈涅回答说“我的方式是分享我的爱，而不是分享我的恨”。“那就去吧，”克瑞翁说，“向死者分享你的爱。” 只要我还活着，我们这里就不会有妇女法。
Not long afterwards, the sentry returns triumphant. Having removed the earth from the body, and then kept careful watch to see who might cover it up again, he has caught a woman in the act. It is Antigone. The sentry knows she will die, but he will be rewarded with money and, anyway, if he had not caught the culprit, he himself would have been put to death. Creon asks Antigone whether she was aware of his edict. Of course, she replies, but ‘that order did not come from God’, and ‘I did not think your edicts strong enough to overrule the unwritten, unalterable laws of God and heaven, you being only a man’. She knows she will have to die as a result, and Creon had better just get on with killing her. She insists there could be no shame in honouring her brother by giving him proper burial. Creon insists that, on the contrary, to honour a traitor is to dishonour the brother who died to save his country; and that to give ‘equal honour to good and bad’ is to insult the good. Antigone replies ‘my way is to share my love, not share my hate’. ‘Go then’ says Creon, ‘and share your love among the dead. We’ll have no woman’s law here, while I live.’ It is one of several lines in the play where he makes clear that he stands for the stern values of ‘man’ against those of ‘woman’.
安提戈涅的事业随后相继找到了三个盟友。首先，伊斯墨涅登场，克瑞翁称其为“你这爬行的毒蛇”。他认为她一定是她姐姐犯罪的同伙。伊斯梅涅认罪。“是的，如果她让我这么说，我和她一样有责任”。安提戈涅激烈地抗议：“你不会伸出援助之手……你不会和我一起死”。伊斯墨涅说：“如果你必须死，我怎么忍心活下去？” 克瑞翁的回应是下令逮捕伊斯墨涅。
Antigone’s cause then finds, in succession, three allies. Firstly, Ismene enters, to be addressed by Creon as ‘you crawling viper’. He assumes she must have been a partner to her sister’s crime. Ismene pleads guilty. ‘Yes, if she will let me say so, I am as much to blame as she is’. Antigone hotly protests: ‘you would not lend a hand ... you shall not die with me’. Ismene says ‘how can I bear to live, if you must die?’ Creon’s response is to order that Ismene should be arrested too.
其次，为安提戈涅发出了更强有力的声音。她已与克瑞翁的儿子海蒙订婚。当他进来时，他首先对父亲说：“我的生活由您的明智决定决定，我将永远服从这些决定。” 我不能把任何婚姻关系看得比你的良好指导更重要。” 克瑞翁很高兴。“说得对，你父亲的意志应该放在你心里的第一位。” 最后，他赞扬了服从的美德。他说，所有的父亲都会为儿子的服从和忠诚祈祷。“我的孩子，不要被女人的欲望和诡计所愚弄。” 一个男人最重要的是要做“一家之主”。
Secondly, a more powerful voice is raised on Antigone’s behalf. She is engaged to marry Haemon, Creon’s own son. When he enters he begins by saying to his father: ‘by your wise decisions my life is ruled, and them I shall I always obey. I cannot value any marriage-tie above your own good guidance.’ Creon is delighted. ‘Rightly said, your father’s will should have your heart’s first place.’ At length he extols the virtues of obedience. All fathers, he says, pray for sons who are obedient and loyal. ‘Do not be fooled, my son, by lust and the wiles of a woman.’ The important thing for a man is to be ‘the righteous master of his house’.
“没有比不服从更致命的危险了；
‘There is no more deadly peril than disobedience;
国家被它吞噬，家园被毁，
States are devoured by it, homes laid in ruins,
军队被击败，胜利转为溃败。
Armies defeated, victory turned to rout.
虽然简单的服从可以挽救数百人的生命
While simple obedience saves the lives of hundreds
属于老实人。因此我坚持法律
Of honest folk. Therefore I hold to the law
并且永远不会背叛它——尤其是对于一个女人来说。
And never will betray it – least of all for a woman.’
但随后海蒙巧妙地指出，有时倾听别人的意见是多么有价值。当然，没有人会当面质疑他父亲的判断：“你的皱眉足以让任何不适合你耳朵的话语消声”。但他认为克瑞翁应该知道，在他背后，“我从四面八方听到了对这个可怜的女孩的怜悯之声，她注定要遭受最残酷的死亡”，而“关于小镇的秘密谈论”就是这样，因为这样的行动与埋葬她的兄弟一样光荣，她更应该得到“金冠”。克瑞翁吐露了他对底比斯人民的蔑视。“我从什么时候开始听从底比斯人民的命令了？” “这样说不是很幼稚吗？”他的儿子勇敢地问道。“不，我是国王，只对我自己负责”克瑞翁说。'一个人的国家？那是什么样的状态？海蒙问道。“为什么”克瑞翁说，“不是每个国家都属于它的统治者？”“如果你在荒岛上，”海蒙说，“你会成为一个出色的国王。”
But then Haemon cleverly suggests how valuable it can sometimes be to listen to what other people are saying. Of course no one will have questioned his father’s judgement to his face: ‘your frown is a sufficient silencer of any word that is not for your ears’. But he thinks Creon should know that, behind his back, ‘on every side I hear voices of pity for this poor girl, doomed to the cruellest death’, and that ‘the secret talk about the town’ is that, for an action so honourable as burying her brother she would have better deserved ‘a crown of gold’. Creon spits out his contempt for the people of Thebes. ‘Since when do I take my orders from the people of Thebes?’ ‘Isn’t that rather a childish thing to say?’, his son bravely enquires. ‘No, I am king and responsible only to myself’ says Creon. ‘A one-man state? What sort of state is that?’ asks Haemon. ‘Why’ says Creon, ‘does not every state belong to its ruler?’‘You’d be an excellent king’ says Haemon, ‘on a desert island.’
克瑞翁对儿子质疑他的判断感到非常愤怒，最终失去了耐心，并命令立即将安提戈涅带到一个沙漠地方，关在一个山洞里。她应该留下足够的食物，以免除他对她的死所犯的任何“血腥罪责”。然后我们看到她在看守下被带出来，带着她“最后一次离开光明，去我的安息之地，在那里死亡将带我活着穿过寂静的河流”。
So incensed does Creon become at his son’s questioning of his judgement that he finally loses patience and orders that Antigone should immediately be taken to a desert place, to be walled up in a cave. She should be left with enough food to acquit him of any ‘blood-guilt’ in her death. We then see her brought out under guard, to take her ‘last leave of the light of day, going to my rest, where death shall take me alive across the silent river’.
当她被带走后，克瑞翁遇到了他的第三个挑战者：古老的圣人泰瑞西亚斯，泰瑞西亚斯告诉他，虽然“所有人都会陷入罪孽”，但没有人不肯悔改，就会永远迷失。“只有傻瓜才会受任性支配。” 当克瑞翁指责泰瑞西亚斯只是为了赚钱才说出这些虔诚的情感时，他揭示了他现在是多么完全被自己的自我所驱使。像任何真正的利己主义者一样，他无法想象其他人可能会出于高于自身利益的任何动机。最终，泰瑞西阿斯被迫传达了他的真实信息：预言克瑞翁很快将因失去自己的儿子而为自己的罪行付出代价。他离开后，克瑞翁对这个预言感到非常震惊，他立即下令为波吕尼刻斯举行适当的葬礼，并将安提戈涅从她的监狱中释放出来。
When she has been led away, Creon is confronted by his third challenger: the old sage Teiresias, who tells him that, although ‘all men fall into sin’, no one is forever lost who does not set his face against repentance. ‘Only a fool is governed by self-will.’ Creon reveals how completely he is now driven by his own ego, when he accuses Teiresias of only uttering these pious sentiments to make money. Like any real egotist he cannot imagine that others may be motivated by anything higher than their own self-interest. Eventually Teiresias is goaded into delivering his real message: a prophecy that Creon will very soon have to pay the price for his crimes by losing his own son. He departs, leaving Creon so stunned by this prophecy that he immediately orders that Polynices should be given proper burial and Antigone freed from her prison.
但睿智的泰瑞西亚斯的预言绝不会落空。然后我们听到，在克瑞翁的人埋葬了波吕尼刻斯并进入洞穴后，他们听到了已经在里面的海蒙的声音。他们召唤了克瑞翁，当洞穴打开时，克瑞翁看到安提戈涅在绳子上吊死，而海蒙则为失去的爱人哭泣。海蒙向他父亲的脸上吐了口唾沫，用剑刺向他，然后将剑刺入自己的身体，然后用双臂搂住死去的心爱之人而死。当这一切正在舞台上报道时，克瑞翁的妻子尤丽狄刻听到了，一言不发地离开了。然后我们听说，在皇宫里，她效仿她儿子的做法，将一把剑刺入了她的心脏。当克瑞翁收到这个消息时，他哭喊道：“没有人能承受这种罪孽，但我……我什么都不是。” 带我走……我不知道该去哪里寻求帮助。
But the wise Teiresias never prophesies in vain. We then hear how, after Creon’s men have buried Polynices and gone to the cave, they hear the voice of Haemon already inside. They summon Creon, who when the cave is opened sees Antigone swinging from a rope, where she has hanged herself, and Haemon weeping for his lost love. Haemon spits in his father’s face, lunges at him with a sword, then plunges it into himself, before dying with his arms round his dead beloved. As this is being reported on stage, Creon’s wife Euryidice hears it and leaves without a word. We then hear that, within the palace, she has followed her son’s example by driving a sword into her heart. When Creon receives the news he cries ‘There is no man can bear this guilt but I ... I am nothing. Lead me away ... I know not where to turn, where look for help.’
安提戈涅之所以具有特殊的力量，是因为克瑞翁所代表的价值观与安提戈涅所代表的价值观之间的绝对鲜明对比。克瑞翁采用了所有关于秩序、法律、服从、忠诚、维护国家统一和惩罚叛徒的男性语言。但正如他的儿子巧妙地指出的那样，这背后其实只不过是克瑞翁自己无情的意志。他是文学中暴君、铁石心肠的元老的最高典范之一。这个人物虔诚地假装维护社会的利益，而事实上，他完全把这与他自己的利己主义的要求混为一谈。相比之下，安提戈涅恰恰代表了这种片面的男性气质所缺乏的价值：她是一位“轻盈的女性”，能够感受到死去兄弟的人性，能够超越世俗忠诚的琐碎区别而“看到整体”。当然，从这方面来说，她是女性化的。但她也将这一点与钢铁般的内在力量和决心结合起来。当她谈到埋葬她的兄弟时，她总是称这是给他“体面”的埋葬。她希望遵守所有应有的荣誉和礼节。这些都是男性价值观，但却赋予生命，因为它们植根于一颗充满爱心的心，她看不出叛徒和爱国者之间有任何区别，因为现在两者在死亡上是平等的，而且都是她的兄弟。如此鼓舞人心安提戈涅在这部戏剧中代表了自我的价值观吗？她根据她的伊斯墨涅、海蒙、底比斯人民，甚至克瑞翁自己的妻子：除了暴君本人之外的每个人。到最后，他们可能都被吸进了他贪得无厌的利己主义的黑洞里。但毫无疑问，哪个人物和谁的价值观在故事的结尾成为了胜利者。因为这就是讲故事的意义所在。如果这个故事以其他方式结束，那么它似乎就无法得到妥善解决，也无法在人类无意识中引起如此深刻的共鸣。
What gives Antigone its particular force is the absolute starkness of its contrast between the values represented by Creon and those represented by Antigone. Creon adopts all the masculine language of order, the law, obedience, loyalty, the need to preserve the unity of the state and to punish traitors. But behind it, as his son so subtly teases out, is really nothing but Creon’s own remorseless will. He is one of the supreme examples in literature of the Tyrant, the flint-hearted senex-figure piously pretending to uphold the good of the community when in fact he has confused this entirely with the demands of his own egotism. In contrast, Antigone represents precisely the value which this one-sided masculinity lacks: she is the ‘light feminine’ who can feel for the humanity of her dead brother and who can ‘see whole’ above the petty distinctions of worldly loyalties. Certainly in this respect she is feminine. But she also combines this with steely inner strength and resolve. When she talks of burying her brother, she invariably refers to this as giving him ‘honourable’ burial. She wishes to observe all due honour and propriety. These are masculine values, but made life-giving because they are rooted in a loving heart, which cannot see any distinction between traitor and patriot because both are now equal in death and both are her brothers. So inspiringly does Antigone represent the values of the Self in this play that she draws after her Ismene, Haemon, the people of Thebes, even Creon’s own wife: everyone except the ever-more isolated figure of the Tyrant himself. They may all by the end have been sucked down into the black hole of his insatiable egotism. But there is no question which figure and whose values shine out at the end of the story as having been its victor. Because that is what storytelling is about. The story could not seem properly resolved or strike such a deep chord of recognition in the human unconscious if it ended any other way.
哈姆雷特：原版
Hamlet: The original version
索福克勒斯去世两千多年后，现代世界最伟大的剧作家创作了他自己的益智剧。我们发现《哈姆雷特》比莎士比亚的任何其他悲剧都更加令人困惑。为什么聪明、深思熟虑、迷人的英雄必须死？为什么他对于是否应该为被谋杀的父亲报仇而犹豫不决？为什么故事中的许多其他人都陷入了由此产生的混乱之中并且也不得不死去？
Two thousand years after Sophocles’s death, the greatest playwright of the modern world produced his own puzzle play. We find Hamlet infinitely more perplexing than any other of Shakespeare’s tragedies. Why does its clever, thoughtful, engaging hero have to die? Why does he get reduced to such a jelly of indecision over whether he should avenge his murdered father? Why do so many other people in the story get caught up in the resulting mess and also have to die?
要解开哈姆雷特之谜，没有比了解莎士比亚的故事所源自的中世纪传说更好的起点了。中世纪历史学家萨克索·格拉玛提库斯（Saxo Grammaticus）在他的丹麦古老故事集《Gesta Danorum》中收录了《Amleth》的情节，首先让我们印象深刻的是，它是一个直截了当的“战胜怪物”故事，讲述了一个英雄战胜了“怪物”的故事。黑暗的父亲形象'成为国王。
There is no better starting point for unravelling the mystery of Hamlet than to look at the mediaeval legend from which Shakespeare derived his story. The first thing which may strike us about the plot of Amleth, included by the mediaeval historian Saxo Grammaticus in his Gesta Danorum, a collection of old Danish tales, is how it is a straightforward Overcoming the Monster story, about a hero who overcomes a ‘Dark Father-figure’ to become king.
霍文迪尔是一位强大的战士，他在一场伟大的战斗中击败并杀死了挪威国王，被任命为日德兰半岛国王。他与格鲁莎公主（莎士比亚的格特鲁德饰）结婚，并育有一子阿姆莱斯（哈姆雷特饰）。但他有一个不那么勇敢但狡猾的兄弟冯（克劳狄斯饰），他嫉妒哥哥的名声，奸诈地谋杀了他并娶了他的遗孀。阿姆雷斯王子清楚地看到，他的叔叔、现在的继父冯一直是邪恶的，并且担心自己的安全。他通过假装无害的疯狂来保护自己（古丹麦语“amleth”一词的意思是“疯狂”）。在三次假装精神错乱之后，冯的一名朝臣（波洛尼厄斯人物）为阿姆莱斯设置了一个陷阱，以测试他是否真的疯了。这涉及到老臣子躲在一堆稻草下，偷听阿姆莱斯和他母亲之间的私人采访。这个想法是，与他所爱和信任的母亲在一起，阿姆雷斯会放下警惕，展现他的真实性格。但当他进入房间时，阿姆莱斯立刻闻到了老鼠的味道，他像公鸡一样啼叫，跳到稻草上，将剑插入他感觉到下面坚硬的东西中。他把偷听朝臣的尸体拖出来，切成碎片，扔进下水道，让猪吃掉。然后阿姆雷斯回到他的母亲身边，并详细地斥责她是一个“妓女”，在“卑鄙的婚姻”中带走了杀害她丈夫的凶手。跳到稻草上，将剑插入他感觉到下面坚硬的东西中。他把偷听朝臣的尸体拖出来，切成碎片，扔进下水道，让猪吃掉。然后阿姆雷斯回到他的母亲身边，并详细地斥责她是一个“妓女”，在“卑鄙的婚姻”中带走了杀害她丈夫的凶手。跳到稻草上，将剑插入他感觉到下面坚硬的东西中。他把偷听朝臣的尸体拖出来，切成碎片，扔进下水道，让猪吃掉。然后阿姆雷斯回到他的母亲身边，并详细地斥责她是一个“妓女”，在“卑鄙的婚姻”中带走了杀害她丈夫的凶手。
Horwendil, a mighty warrior who has defeated and slain the king of Norway in a great battle, is made king of Jutland. He marries the Princess Gerutha (Shakespeare’s Gertrude), by whom he has a son, Amleth (Hamlet). But he has a much less brave but crafty brother Feng (Claudius) who, jealous of his brother’s renown, treacherously murders him and marries his widow. Prince Amleth sees clearly that Feng, his uncle, now stepfather, is unremittingly evil and fears for his own safety. He protects himself by pretending to be harmlessly mad (the word ‘amleth’ in old Danish means ‘insane’). After three demonstrations of his feigned insanity, one of Feng’s courtiers (the Polonius-figure) sets up a trap for Amleth, to test whether he is genuinely mad or not. This involves the old courtier hiding under a pile of straw, to eavesdrop on a private interview between Amleth and his mother. The idea is that, with his mother, whom he loves and trusts, Amleth will drop his guard and show his true character. But when he enters the room, Amleth at once smells a rat, He crows like a cock, jumps on the straw and plunges his sword into something hard he feels beneath it. He pulls out the body of the eavesdropping courtier, cuts it into pieces and throws them into a sewer, to be eaten by pigs. Amleth then returns to his mother and berates her at length for being the ‘harlot’ who had taken her husband’s murderer in ‘vile wedlock’.
当冯发现他的朝臣发生了什么事时，他担心阿姆莱斯接下来会做什么，并精心策划了一场谋杀他的阴谋。他派他在两名朝臣（莎士比亚笔下的罗森克兰茨和吉尔登斯特恩）的陪同下前往英国国王的使馆，并携带一条信息，要求国王处死传达信息的人。Amleth 发现了这一点并改变了措辞，请求国王绞死这两名消息传递者，并向陪同他们的人授予公主结婚权。
When Feng discovers what has happened to his courtier, he fears what Amleth may do next and lays an elaborate plot to have him killed. He sends him on an embassy to the King of Britain, accompanied by two courtiers (Shakespeare’s Rosencrantz and Guildenstern), carrying a message which asks the king to put the bearer of the message to death. Amleth discovers this and changes the wording, requesting the king to hang the two bearers of the message and to give he who is accompanying them the hand of a princess in marriage.
当阿姆莱斯三次演示他的第二视力时，英国国王印象深刻，并完全按照消息的要求做了。随后，阿姆莱斯返回日德兰半岛，邀请冯的所有贵族追随者参加一场烈酒盛宴，当他们醉倒在地时，阿姆莱斯烧毁了他们在里面的大厅。现在他可以自由地在皇家寝宫中寻找他的继父并杀死他。然后阿姆莱斯乔装打扮，观察人们的反应。当他看到大家都在为暴君之死而欢欣鼓舞时，他脱下了伪装，解释了为什么他必须假装生气以避免自己被谋杀，并告诉人们他为了他们而杀死了暴君。就像俄狄浦斯一样，人们随后欢呼阿姆莱斯国王，称其为战胜“怪物”并释放他们的英雄。
The British king is deeply impressed when Amleth gives three demonstrations of his second-sight, and does exactly as the message requests. Amleth then returns to Jutland, invites all Feng’s noble followers to a highly alcoholic feast and, when they are lying in drunken heaps, burns down the hall with them inside. He is now free to seek out his stepfather in the royal bedchamber and slay him. Amleth then disguises himself to watch for the reaction of the people. When he sees they are all rejoicing that the Tyrant is dead, he throws off his disguise, explains why he had to pretend to be mad to avoid being murdered himself and tells the people that he has slain the Tyrant for their sake. As with Oedipus, the people then acclaim Amleth king, as the hero who has overcome the ‘monster’ and set them free.
这就是莎士比亚戏剧的故事基础，尽管原版继续增加了一个新情节，其中阿姆莱斯与苏格兰女王结婚，在一场伟大的战斗中击败了英国人，最后在另一场战斗中阵亡，与他一起埋葬。日德兰半岛的荣誉。但莎士比亚改编的故事部分，最终是英雄杀死了邪恶的叔叔并继承了父亲的王位，因此，这是一个年轻英雄的原型故事，他的“光明父亲”被“黑暗父亲”取代，他的父亲被“黑暗父亲”取代。最终杀戮成王。令人着迷的问题是，为什么莎士比亚会如此戏剧性地改变这个故事（尽管保留了许多细节），以至于他把它变成了一个完全不同的故事。没有向我们展示一个年轻人成熟到可以达到熟悉的幸福结局的程度，故事以英雄被毁而告终。为什么莎士比亚要使用这么多原著故事，只是为了彻底颠覆它？
Such is the story on which Shakespeare bases his play, although the original version continues with a new episode in which Amleth marries the Queen of Scotland, defeats the British in a great battle and is finally slain himself in yet another battle, to be buried with honour in Jutland. But the part of the story adapted by Shakespeare, culminating in the hero killing his wicked uncle and succeeding to his father’s throne, is thus an archetypal tale of a young hero whose ‘light Father’ is replaced by a ‘dark Father’, whom he eventually slays to become king. The fascinating question is why Shakespeare should so dramatically have altered this story (despite retaining many of its details) that he turns it into one totally different. Instead of showing us a young man maturing to the point where he can arrive at the familiar happy ending, the story ends with its hero being destroyed. Why should Shakespeare have wanted to use so much of the original story, only in order to turn it on its head?
哈姆雷特：个人戏剧
Hamlet: The personal drama
莎士比亚的版本与原作最重要的不同之处在于它改变了接下来一切的特征，那就是他如何向哈姆雷特展示他必须消灭继父的想法。在原著中，毫无疑问阿姆莱斯杀死他的继父是正当的。我们在生活中看到了他的父亲，作为一位英雄的战士国王，因此是一个“轻”的人物。毫无疑问，他随后被他软弱而狡猾的兄弟奸诈地谋杀了，而他显然是“黑暗”的，而冯也可能对阿姆莱斯有致命的阴谋，作为王位的潜在竞争对手。这就是为什么阿姆雷斯假装生气，为了保护自己，并且有充分的理由想要杀死冯，以保全自己的生命。
The most crucial respect in which Shakespeare’s version differs from the original, in that it transforms the character of everything which follows, is how he shows Hamlet conceiving the idea that he must destroy his stepfather. In the original there is never any question that Amleth is justified in killing his stepfather. We have seen his father in life, as a heroic warrior-king and therefore a ‘light’ figure. There is no doubt he is then treacherously murdered by his weak and crafty brother, who is obviously ‘dark’, and that Feng may have deadly designs on Amleth too, as a potential rival to the throne. This is why Amleth pretends to be mad, to protect himself, and has every reason for wanting to kill Feng, to preserve his own life.
莎士比亚故意将这一切笼罩在神秘的迷雾中，其中没有一个要点是如此明确定义的。我们没有在生前见过老国王，所以我们没有直接证据证明他是“光明”还是“黑暗”。人们甚至不知道他是被谋杀的，因为人们普遍认为他是被蛇咬伤而意外死亡的。戏剧在晚上开始，城垛上的哨兵低声谈论着两次见到他的鬼魂，而所有关于这个幽灵的语言都使它看起来根本不是一个光影。当霍雷肖加入手表时，幽灵第三次出现，看上去很严峻好战，当公鸡啼鸣预示着黎明的到来时，它就消失了。显然这是一个黑暗的生物；霍雷肖指出，当黎明到来时，它“像一个有罪的东西一样开始”并迅速逃走。马塞勒斯回忆起古老的民间信仰，即在圣诞节前后的夜晚，看不到鬼魂，因为这个时刻“如此神圣、如此仁慈”，以至于“没有灵魂敢在国外搅动”。
Shakespeare deliberately shrouds all this in a mysterious fog, where none of these points is anything like so clearly defined. We do not see the old king in life, so we have no direct evidence as to whether he was ‘light’ or ‘dark’. It is not even known that he had been murdered, since it was generally believed that he had died by accident, bitten by a snake. The play opens, at night, with the sentries talking in hushed tones on the battlements about having twice seen his ghost, and all the language used about this apparition makes it seem anything but a figure of light. When Horatio joins the watch, the Ghost makes a third appearance, looking grim and warlike, and disappears when a cock crow heralds the approach of daylight. Clearly this is a creature of darkness; and Horatio notes how, as light dawns, it had ‘started like a guilty thing’ and scuttled away. Marcellus recalls the old folk belief that, in the nights around Christmas, no ghosts are seen, because the time is ‘so hallowed and so gracious’ that ‘no spirit dare stir abroad’.
我们第一次见到剧中的英雄是在第二天。哈姆雷特王子因父亲的去世和母亲的仓促再婚而陷入自杀的抑郁症。“哦上帝，上帝”他沉思道：
The first time we see the play’s hero is the following day. Prince Hamlet has been plunged into suicidal depression by the death of his father and his mother’s over-hasty remarriage. ‘O God, God’ he muses:
“多么疲倦、陈旧、平淡和无利可图
‘How weary, stale, flat and unprofitable
在我看来，这世界的所有用途！
Seem to me all the uses of this world!
呸，啊，呸，这是一个没有杂草的花园
Fie on’t, ah, fie, ’tis an unweeded garden
那会长成种子。事物本质上是等级和粗俗的
That grows to seed. Things rank and gross in nature
完全拥有它。
Possess it utterly.’
当他的朋友霍雷肖打断这场病态的自言自语，告诉他他父亲的幽灵幻象时，处于混乱状态的哈姆雷特迫不及待地等待着黑暗回归的那一刻，他也可能会看到这个夜晚的生物。
When his friend Horatio breaks in on this morbid soliloquising to tell him about the spectral vision of his father, Hamlet, in his disordered state, cannot wait for the moment when darkness returns and he too may see this creature of the night.
哈姆雷特看到幽灵后的立即反应更加强烈地表明它是黑暗力量的化身。他喊道：“天使和恩典的使者保护我们”，然后问鬼魂是“健康的灵魂还是该死的妖精”。霍雷肖担心幽灵可能会剥夺哈姆雷特的“理性主权”并把他带入疯狂。一切都经过精心设计，让我们将幽灵视为一种致命的存在，这对哈姆雷特来说只是不祥之兆，而当它解释它如何来自一个因其“犯下的罪行”而受到可怕惩罚的地方时，这一点得到了加强。虽然鬼魂说起这个永火王国就像是炼狱，但听起来更像是地狱。然后这个地狱般的幽灵带着它的真实信息出现了。哈姆雷特决不能相信他的父亲是因为被蛇咬而死的。
Hamlet’s immediate response on seeing the Ghost suggests even more strongly that it is a personification of the dark power. ‘Angels and ministers of grace defend us’ he cries out, before asking the ghost whether it is a ‘spirit of health or goblin damned’. Horatio is fearful that the Ghost may deprive Hamlet of ‘the sovereignty of reason’ and draw him into madness. Everything is calculated to make us see the Ghost as a deadly presence which bodes nothing but ill for Hamlet, and this is reinforced when it explains how it has come from a place where it is being fearfully punished for its ‘foul crimes’. Although the Ghost speaks of this realm of everlasting fire as if it were purgatory, it sounds more like hell. Then this infernal apparition comes out with its real message. Hamlet must not believe that his father died because he was bitten by a snake. He was treacherously and horribly poisoned by his brother, and it is now Hamlet’s duty to ‘revenge his foul and most unnatural murder’.
如此引人注目的是莎士比亚如何采用了原始版本，基于儿子必须杀死“黑暗父亲”才能成为“光明父亲”的熟悉象征意义，并故意将其放入悲剧的模子中。哈姆雷特听从地狱使者的指示怎么可能是正确的呢？许多英雄为了达到幸福结局而需要采取的路线现在被呈现为悲剧性螺旋式下降的第一步。一旦莎士比亚将哈姆雷特推上了这条道路，我们就会看到该剧的其余部分如何遵循典型的五阶段悲剧模式，
What is so striking is how Shakespeare has taken the original version, based on the familiar symbolism of a son having to kill a ‘dark Father’ in order to become a ‘light Father’, and put it so deliberately into the mould of Tragedy. How can it be right for Hamlet to follow the instructions of this messenger from hell? The very course so many heroes need to take in order to reach the happy ending is now presented as the first fatal step on a tragic downward spiral. And once Shakespeare has launched Hamlet on this path, we see how the rest of the play follows the archetypal five-stage tragic pattern,
第一幕是预期阶段。幽灵提供了焦点，而莎士比亚则将他描述为诱惑者，怂恿哈姆雷特做一些完全黑暗的事情。该剧的第二幕是梦想舞台，哈姆雷特假装与现实分手，作为他现在所走的致命路线的掩护。当他安排上演这出戏来证实克劳迪斯有罪时，事情达到了高潮。即使现在哈姆雷特也不确定幽灵说的是真话。但捕鼠器是他“抓住国王良心”的工具。
The first act has been the Anticipation Stage. The Ghost has provided the Focus, and Shakespeare has presented him as a Tempter, egging Hamlet on to do something which is thoroughly dark. The play’s second act is the Dream Stage, in which Hamlet pretends to have parted company with reality, as a cover for the deadly course on which he is now set. The height of this comes when he arranges to put on the play which will confirm Claudius’s guilt. Even now Hamlet is not certain the Ghost was telling the truth. But The Mousetrap is the device in which he will ‘catch the conscience of the king’.
作为哈姆雷特现在真实发生的事情的证据，我们可以回忆一下，在悲剧中，随着英雄越来越被黑暗所占据，他的堕落之路以某些代表英雄本人某些方面的关键人物的死亡为象征。他们是天真少女、好老人和光明的另一个自我。第一个因哈姆雷特陷入黑暗迷恋而遭受痛苦的人是天真无邪的年轻女孩，“美丽的奥菲莉亚”，他最近对她表达了“许多温柔”。奥菲莉亚代表了哈姆雷特的阿尼玛、他的心灵和灵魂。没有什么比他如此无情地反对她，用粗俗、尖刻的嘲笑来嘲笑她的爱和纯真，更能令人毛骨悚然地揭示出他现在所占据的“黑暗反转”了。
As evidence for what is really now happening to Hamlet, we may recall how consistently in Tragedy, as the hero becomes increasingly possessed by darkness, his downward course is symbolised by the deaths of certain key figures who represent aspects of the hero himself. These are the Innocent Young Girl, the Good Old Man and the Light Alter-Ego. The first person to suffer from Hamlet’s drift into his dark obsession is the Innocent Young Girl, the ‘fair Ophelia’, to whom he has lately made ‘many tenders’ of his affection. Ophelia represents Hamlet’s anima, his heart and soul. Nothing more chillingly reveals the ‘dark inversion’ now taking him over than the way he turns so heartlessly against her, mocking her love and innocence with his coarse, stinging jibes.
这个“好老人”（克劳狄斯明确地称呼他）是波洛尼厄斯，而他现在也遭到了哈姆雷特的野蛮嘲笑。但我们现在正进入挫败阶段，迄今为止只不过是残酷的嘲讽和表演，即将变得不可挽回的令人厌恶。哈姆雷特的挫败情绪通过“生存还是毁灭”的演讲而得到体现，他在其中展示了他内心极度混乱的状态。面对他所遭受的这种愤怒，他应该以基督徒的忍耐软弱地接受它，还是应该像一个男人一样坚决地采取行动，“拿起武器”结束它？这种选择是如此难以忍受，以至于似乎唯一的出路就是自杀。但谁知道这会导致来世的地狱般的惩罚呢？
The ‘good old man’ (as Claudius explicitly calls him) is Polonius, and he too Hamlet now savagely ridicules. But we are now moving into the Frustration Stage, where what has up to now been no more than cruel mockery and play-acting is about to turn irretrievably nasty. Hamlet’s mood of frustration is signalled by the ‘to be or not to be’ speech, in which he shows his state of extreme inner turmoil. Faced with the kind of outrage he has been subjected to, should he just weakly accept it with Christian forebearance, or should he act resolutely, like a man, and ‘take arms’ to end it? So intolerable is the choice that it might seem the only way out is to commit suicide. But who knows what hellish punishments this might lead to in an after-life?
“因此，良心确实让我们所有人都变成了懦夫，
‘Thus conscience does make cowards of us all,
因此分辨率的原生色调
And thus the native hue of resolution
因思想苍白而病态吗？
Is sicklied o’er with the pale cast of thought’
由于不知道该走哪条路，哈姆雷特陷入了无能为力，但由于他已经设置了“捕鼠器”，他暂时摆脱了这种痛苦的犹豫。他的戏剧表演的成功超出了他最疯狂的梦想。当坐在黑暗中的克劳狄斯看到自己可怕的秘密被揭露时，他再也无法忍受，从椅子上跳了起来，呼喊着要光明。这让哈姆雷特重新焕发了活力，他刚刚再次以如此冷酷的蔑视态度对待奥菲莉亚。在他痛苦的母亲邀请他私下谈论他对继父的冒犯后，他现在正鼓起全部决心，实施最终的黑暗行动：
Reduced to impotence at not knowing which way to turn, Hamlet is temporarily saved from this tortured dithering by the fact that he has already set his ‘mousetrap’. His trick with the play succeeds beyond his wildest dreams. As Claudius, sitting in the darkness, sees his hideous secret exposed, he can take no more, leaping up from his chair to shout for light. This reinvigorates Hamlet, who has again just treated Ophelia with such callous contempt; and having been invited by his anguished mother to talk privately about the offence he has given his stepfather, he is now summoning up all his resolve to commit the ultimate act of darkness:
现在正是夜晚最迷人的时刻，
‘Tis now the very witching time of night,
当墓地打哈欠，地狱本身在呼吸时，
When churchyards yawn, and hell itself breathes out,
传染到这个世界。现在我可以喝热血吗
Contagion to this world. Now could I drink hot blood
并做着像白天一样的苦事
And do such bitter business as the day
看着会颤抖。
Would quake to look on.’
莎士比亚笔下的哪个悲剧英雄能够更明确地表达出占据他灵魂的黑暗呢？然而，当哈姆雷特有机会在祈祷时杀死克劳狄斯时，他却不敢这么做。他告诉自己，这是因为，如果他在继父跪下时杀死他，克劳狄斯可能会避免他应得的地狱最终惩罚。然而，这似乎是合理化的。事实难道不是这样吗：尽管哈姆雷特有绝佳的机会去做他阴暗的自我所敦促的事情，但他却太软弱，不够男子气概，无法做到这一点？这是一个奇妙又暧昧的时刻揭露了哈姆雷特的“分裂的自我”。与此同时，我们还看到，尽管克劳迪斯表现出了虔诚的态度，但他自己也知道这完全是空的：“我的言语飞翔，我的思想留在下面”；此外，他已经与罗森克兰茨和吉尔登斯顿策划了护送哈姆雷特到英国被谋杀的阴谋。他和哈姆雷特陷入了冲突，现在他们的目的几乎同样黑暗，只是哈姆雷特还没有足够的勇气去实现自己的黑暗信念。
What tragic hero in Shakespeare gives more explicit voice to the darkness that has taken over his soul? Yet when Hamlet has the chance to kill Claudius at prayer, he cannot bring himself to do it. He tells himself that this is because, if he kills his stepfather when he is on his knees, Claudius might avoid the ultimate punishment in hell he deserves. However, this seems like rationalisation. Is not the truth that, given the perfect opportunity to do what his darker self is urging, Hamlet is too weak, not manly enough to do it? It is a wonderfully ambiguous moment, exposing just what a ‘divided self’ Hamlet has become. At this same moment we also see that, for all his show of devotion, Claudius himself knows it is totally empty: ‘my words fly up, my thoughts remain below’; and furthermore he has already set in train with Rosencrantz and Guildenstern the plot whereby they will escort Hamlet to England to be murdered. Locked on a collision course, he and Hamlet are now almost equally black in their purposes, except that Hamlet is not man enough to have the full courage of his own dark convictions.
当哈姆雷特在突然的暴力冲动下刺伤了隐藏在阿拉斯后面偷听的波洛尼尔斯时，普遍的沮丧情绪加深了。他唯一的反应是沮丧地发现他的受害者不是克劳迪斯，这本来可以解决他的问题。即使当他发现自己错误地杀死了“好老人”时，他也没有表现出一丝悔恨，再次表明他已经变得多么黑暗。相反，他因母亲无耻的背叛和不忠而对她大发雷霆（这就是弗洛伊德主义者不无道理地认为哈姆雷特陷入了“俄狄浦斯”的僵局，一个软弱、没有男子气概的儿子迷恋着他的母亲，并对她应该“”感到震惊）她对“父亲”的爱背叛了他）。所有这些都取自阿姆莱斯的原著故事，但完全是莎士比亚自己的故事。幽灵，作为诱惑者，再次怂恿哈姆雷特杀死他的继父；然后，在剧中最无情的喜剧台词中，哈姆雷特告诉克劳狄斯，他的“好老人”正在“吃晚饭”：“不是他吃饭的地方，而是他被吃的地方。” 某种蠕虫的政治集会正在向他发起攻击”（这与阿姆莱斯将朝臣的尸体扔进下水道供猪吃的做法非常相似）。
The general mood of frustration deepens when Hamlet, on a sudden violent impulse, stabs the eavesdropping Polonius hidden behind the arras. His only response is frustration at finding his victim is not Claudius, which would have solved his problem. Even when he discovers he has, by mistake, killed the ‘good old man’, he shows again just how genuinely dark he has become by significantly showing not a flicker of remorse. Instead he lets fly at his mother for her shameless treachery and infidelity (this is where the Freudians, not without justification, see Hamlet reaching the ‘Oedipal’ impasse, where a weak, unmanly son is fixated on his mother and appalled that she should ‘betray’ him by her love for the ‘father’). All this is taken from the original Amleth story, but given a spin entirely Shakespeare’s own. The Ghost, as Tempter, makes one more effort to egg Hamlet on into killing his stepfather; and then, in the most heartlessly comic lines of the play, Hamlet tells Claudius that his ‘good old man’ is ‘at supper’: ‘not where he eats but where he is eaten. A certain politic convocation of worms are e’en at him’ (this closely echoes Amleth feeding the courtier’s body into a sewer to be eaten by pigs).
这场悲剧现在已经进入了噩梦阶段，在大部分时间里我们甚至看不到英雄，因为他在英国。最令人毛骨悚然地传达了这种噩梦感的形象，同时背叛了哈姆雷特内心王国中真正发生的事情，是精神错乱的奥菲莉亚的令人心碎的景象，她的父亲被她曾经拥有的男人随意谋杀，她陷入了疯狂。爱过并希望结婚。然后她在唱歌时溺水身亡，她撒满鲜花的身体被小溪冲走。哈姆雷特失去了灵魂。他心灵的三个方面中的两个已经死亡。唯一剩下的就是他的“另一个自我”。
The tragedy is now firmly into its Nightmare Stage, during most of which we do not even see the hero, because he is in England. The image which most chillingly conveys this sense of nightmare, simultaneously betraying what is really going on in Hamlet’s inner kingdom, is the heart-rending spectacle of the deranged Ophelia, driven mad by her father’s casual murder at the hands of the man she had once loved and hoped to marry. She then drowns as she sings, her flower-strewn body carried away on the stream. Hamlet has lost his soul. Two of the three aspects of his psyche are dead. The only one left is his ‘Alter-Ego’.
雷欧提斯现在是哈姆雷特的镜子。两人都是留学归来的年轻人。两人都是父亲被谋杀的儿子。两人都失去了他们所爱的女性另一半：除了他们中只有一个人对她的死负有责任。莎士比亚在一个奇怪的小插曲中强调了雷欧提斯现在如何成为哈姆雷特的“轻微对手”，其重要性很容易被忽视。就在奥菲莉亚的“疯狂场面”和她的死讯之间，克劳狄斯和格特鲁德独自一人，一名信使突然闯入，宣布一场类似革命的事情已经爆发。雷欧提斯在外面，率领一群愤怒的暴徒宣布他为国王：“雷欧提斯将成为国王”。然后，雷欧提斯本人和他的一些追随者闯了进来，称呼克劳狄斯为“你这邪恶的国王”。
Laertes is now Hamlet’s mirror. Both are young men returned from studying abroad. Both are sons whose fathers have been murdered. Both have lost the feminine other half they loved: except that only one of them has been guilty of her death. And Shakespeare highlights the way in which Laertes has now become Hamlet’s ‘light rival’ in a strange little episode, the significance of which can easily be overlooked. Between Ophelia’s ‘mad scene’ and the news of her death, Claudius and Gertrude are left alone when a messenger bursts in to announce that something akin to a revolution has broken out. Laertes is outside, at the head of an angry mob proclaiming him as king: ‘Laertes shall be king’. Laertes himself then bursts in, with some of his followers, to address Claudius as ‘O thou vile King’.
这一点特别重要的是，在最初的故事中，并没有雷欧提斯这个人物。在杀死继父后，人们拥戴为国王的人物就是阿姆雷斯本人。因此，莎士比亚有意将英雄一分为二，而莱尔提斯则是哈姆雷特的“光明的另一个自我”。直到现在克劳狄斯才开始诱惑雷欧提斯陷入了自己的黑暗之网，为他提供了为自己的父亲报仇的机会，这使得哈姆雷特和雷欧提斯之间的等同性得以完成。
What makes this particularly significant is that, in the original story, there is no Laertes-figure. The character whom the people acclaim as king is Amleth himself, after he has slain his stepfather. Shakespeare has thus deliberately split the hero into two, with Laertes as Hamlet’s ‘light alter ego’. Only now does Claudius tempt Laertes into his own web of darkness, by offering him the chance to avenge his own father, and this makes the equivalence between Hamlet and Laertes complete.
第五幕开始，哈姆雷特从英国归来，两个对手在奥菲莉亚敞开的坟墓里打斗，残酷地预示着戏剧即将结束。哈姆雷特克服了自己的良心，但意识到自己无法实现自己的目的，现在他已经听天由命了。在他派出倒霉的奥斯里克（Osric）的场景中，他从来没有比这更机智地嘲笑过，奥斯里克是克劳迪乌斯派来的朝臣，向击剑比赛传达挑战，而这将是他的垮台。但此时，哈姆雷特和跟随欧洲最优秀的剑术老师“拉莫特”（“La mort”）训练的雷欧提斯已经完全变成了彼此的“黑暗的另一个自我”。到目前为止，黑暗的扭曲力量正在崛起，现在任何人都无法“看到整体”，一切都尽可能地出错。首先，哈姆雷特和雷欧提斯交换了他们的箔片，因此两人都被专门为哈姆雷特准备的毒药致命伤。然后格特鲁德喝下了为哈姆雷特准备的毒药而死，促使哈姆雷特最终杀死了他奸诈的继父。雷欧提斯死后，已经为自己在这一恶行中所扮演的角色而悔恨不已（克劳狄斯一死，他就开始走向光明）。最后哈姆雷特紧随其后。儿子英雄王子杀死了他的“黑暗父亲”。但在努力实现这一目标的过程中，他已经消灭了自己的所有这些方面，如果他能够与这些方面保持一致，如果他被“推上”为国王，这些方面可能会让他“证明是最有王室的”。雷欧提斯死后，已经为自己在这一恶行中所扮演的角色而悔恨不已（克劳狄斯一死，他就开始走向光明）。最后哈姆雷特紧随其后。儿子英雄王子杀死了他的“黑暗父亲”。但在努力实现这一目标的过程中，他已经消灭了自己的所有这些方面，如果他能够与这些方面保持一致，如果他被“推上”为国王，这些方面可能会让他“证明是最有王室的”。雷欧提斯死后，已经为自己在这一恶行中所扮演的角色而悔恨不已（克劳狄斯一死，他就开始走向光明）。最后哈姆雷特紧随其后。儿子英雄王子杀死了他的“黑暗父亲”。但在努力实现这一目标的过程中，他已经消灭了自己的所有这些方面，如果他能够与这些方面保持一致，如果他被“推上”为国王，这些方面可能会让他“证明是最有王室的”。
As Act Five begins, with Hamlet returned from England, the two rivals fight in Ophelia’s open grave, grimly foreshadowing how the drama is about to end. Having overcome his conscience and yet realised that he is not going to achieve his purpose, Hamlet is now resigned to his fate. Never has he been more wittily mocking than in the scene where he sends up the hapless Osric, the courtier sent by Claudius to convey the challenge to the fencing match which is to be his downfall. But by now Hamlet and Laertes, who has been in training with ‘Lamord’ (‘La mort’), the finest fencing teacher in Europe, have been wholly transformed into each other’s ‘dark Alter-Ego’. So far is the distorting power of darkness now in the ascendant, so unable is anyone now to ‘see whole’, that everything goes as wrong as it possibly could. First Hamlet and Laertes swap their foils, so that both are fatally wounded by the poison intended only for Hamlet. Then Gertrude drinks the poison intended for Hamlet and dies, prompting Hamlet at last to kill his treacherous stepfather. Laertes dies, already repenting of his part in this villainy (as soon as Claudius dies, he begins to move back towards the light). Finally Hamlet follows. The son-hero Prince has killed his ‘Dark Father’. But in working towards this he has killed off all those aspects of himself which, if he could have remained at one with them, might have enabled him, had he been ‘put on’ as king, to have ‘proved most royal’.
因此，我们留下的是讲故事中独特的奇观。我们看到一个英雄开始做一些事情，对于许多其他英雄来说，这是他们获得幸福、轻松结局的自然先决条件。但在这里，他被黑暗状态所占据，以至于毁灭了他。聪明、有趣、饱受折磨的哈姆雷特被描绘得如此引人入胜，以至于我们可能忽视了莎士比亚将他转变为一个无情的怪物的程度。因此，在故事进行到一半时，在克劳狄斯跪下的场景中，我们看到了同样罕见的场景，即克劳狄斯和哈姆雷特这两个主角，实际上他们变得和彼此一样黑暗：只不过哈姆雷特甚至没有男子气概。足以实现他的黑暗目的，除非他一时冲动。
What we are thus left with is a spectacle unique in storytelling. We have seen a hero setting out to do something which, for so many other heroes, is a natural precondition to their arriving at a happy, light ending. But here this involves him in becoming so possessed by the state of darkness that it destroys him. The intelligent, funny, tortured Hamlet is portrayed so engagingly that we may overlook just how far Shakespeare has shown him turning into a ruthless monster; so that half way through the story, in the scene where Claudius is on his knees, we have the equally rare spectacle of two protagonists, Claudius and Hamlet, who in reality have become as dark as each other: except that Hamlet is not even manly enough to carry out his dark purposes, unless he is acting on impulse. And to understand just why Shakespeare has wanted to place his characters in this extraordinary situation we must step back from the personal drama of the play, to see how he intends this to be only the central focus for a much more general picture of human nature.
哈姆雷特：更广阔的前景
Hamlet: The wider picture
关于《哈姆雷特》的一个常见误解反映在那句熟悉的陈词滥调中，那就是“在没有丹麦王子的情况下扮演哈姆雷特”，这意味着如果没有哈姆雷特，这部剧就什么都没有了。它可能是英国文学中最长的舞台部分。但这个故事最令人着迷的一点是，它在很大程度上不仅仅涉及中心人物的个人问题。
A common misunderstanding about Hamlet is reflected in that familiar cliché that something is like ‘playing Hamlet without the Prince of Denmark’, implying that, without Hamlet, there would be nothing left of the play. It may be the longest stage part in English literature. But not the least fascinating aspect of this story is the extent to which it is not just about the personal problems of its central figure.
莎士比亚不断地煞费苦心地强调，他在这部戏剧中真正关注的问题远比一个人的内心所想的要广泛得多。正如我们在故事开始后不久了解到的那样，这不仅仅是哈姆雷特的想法“时间不合时宜”。“丹麦国内有些东西已经腐烂了”。整个王国都生病了。甚至埃尔西诺也不仅仅代表欧洲边缘的一个小王国。它与真实的、地理上的丹麦的关系远不如凯撒大帝的罗马与真实的罗马，或者“历史剧”与真实的英格兰的关系。
Shakespeare is continually at pains to emphasise that his real preoccupation in this play goes much wider than just what is going on in the mind of one individual. As we learn soon after the start of the story, it is not just in Hamlet’s mind that ‘the time is out of joint’. There is ‘something rotten in the state of Denmark’ itself. The whole kingdom is sick. Even Elsinore stands for much more than just one little kingdom on the edge of Europe. It has infinitely less to do with the real, geographical Denmark than, say, Julius Caesar’s Rome has to with the real Rome, or the ‘history plays’ with a real England.
埃尔西诺恰好是聚光灯照耀的地方。但我们不断意识到世界其他地方向四面八方延伸到黑暗中。北边的挪威，南边的巴黎和维滕堡，西边的英格兰，东边的波兰：所有这些都在整个故事中发挥着自己的作用，莎士比亚的任何一部戏剧都没有让我们如此持续地意识到活动的狂热在台下。从一开始我们就了解到（莎士比亚在最后一刻插入的一段演讲，显然是为了进一步强调整个戏剧的一些普遍观点）丹麦和挪威之间出现了一场重大“危机”，而且丹麦人民正在为战争做准备。国家如此疯狂地武装起来，以至于“黑夜与白昼一起劳动”，“周日与一周不再分开”。整部剧，从第一幕到最后一幕，台下不断传来军队好战的脚步声。因此，埃尔西诺的小法庭只是一个灯火通明的缩影，反映了世界的总体状况。
Elsinore just happens to be the place on which the spotlight is shining. But we are made continually aware of the rest of the world stretching away into the darkness in all directions. Norway to the north, Paris and Wittenburg to the south, England to the west, Poland to the east: all play their part in the overall story, and in no other of Shakespeare’s plays are we made so continually aware of a fever of activity going on off-stage. Right at the start we learn (in a speech inserted by Shakespeare at the last minute, and obviously intended further to underline some general point about the play as a whole) that a major ‘crisis’ has arisen between Denmark and Norway, and that the people of Denmark are preparing for war. So frenziedly is the country arming that ‘the night is made joint labourer with the day’, ‘Sunday is so no longer divided from the week’. Throughout the play, from the first act to the last, the warlike tramp of armies is continually heard off stage. The little court of Elsinore is thus simply a brightly-lit microcosm, reflecting the general state of the world.
正是在这种广阔、黑暗、不安的背景下，莎士比亚特别关注一场人类危机：我们看到埃尔西诺正在发生的灾难性事件。如果说有一件事情最能凸显我们在丹麦宫廷中看到的这群不幸的人，那就是他们互相密谋和监视彼此的方式。
It is against this vast, dark, restless background that Shakespeare focuses on just one human crisis in particular: on the catastrophic events we see unfolding in Elsinore. And if there is one thing above all which marks out the unhappy little group of people we see thrown together in the Danish court it is the way they are all plotting against and spying on each other.
莎士比亚的戏剧中几乎没有一个人不以某种方式试图欺骗或欺骗别人，无论是伊阿古用手帕欺骗奥赛罗，还是喜剧中女扮男装的女主角。但没有一部戏剧像《哈姆雷特》那样包含如此多的情节和策略：总共至少有九个。波洛尼厄斯刚送莱尔提斯去巴黎，就派雷纳尔多跟踪他，监视他的道德行为。当哈姆雷特的老朋友罗森克兰茨和吉尔登斯顿出现时，他们立即被克劳迪斯招募来监视哈姆雷特。当演员团到达时，哈姆雷特亲自安排了当晚的娱乐活动，作为他“抓住国王良心”的伎俩。波洛尼厄斯和克劳狄斯让奥菲莉亚在哈姆雷特在宫殿里散步时拦住他，然后坐在柱子后面监视他们。波洛尼尔斯在阿拉斯后面偷听，监视哈姆雷特和王后。克劳迪斯与罗森克兰兹和吉尔登斯顿一起将哈姆雷特送往英国，并提供了信件，以确保哈姆雷特在他们到达那里时会被谋杀。克劳迪斯和雷欧提斯最终密谋用有毒箔片困住哈姆雷特。在这一切之上，构成了悲剧本身的轮廓，悬而未决的是两个最大的阴谋：克劳狄乌斯最初的阴谋毒害他的兄弟以篡夺王位；哈姆雷特自己的，是在鬼魂的提示下怀孕的，目的是谋杀克劳狄斯。克劳迪斯和雷欧提斯最终密谋用有毒箔片困住哈姆雷特。在这一切之上，构成了悲剧本身的轮廓，悬而未决的是两个最大的阴谋：克劳狄乌斯最初的阴谋毒害他的兄弟以篡夺王位；哈姆雷特自己的，是在鬼魂的提示下怀孕的，目的是谋杀克劳狄斯。克劳迪斯和雷欧提斯最终密谋用有毒箔片困住哈姆雷特。在这一切之上，构成了悲剧本身的轮廓，悬而未决的是两个最大的阴谋：克劳狄乌斯最初的阴谋毒害他的兄弟以篡夺王位；哈姆雷特自己的，是在鬼魂的提示下怀孕的，目的是谋杀克劳狄斯。
There is scarcely any play of Shakespeare’s in which someone does not in some way attempt to trick or deceive someone else, whether it be Iago tricking Othello with the handkerchief or all those heroines in the comedies who appear in male disguise. But no play contains anything like so many plots and stratagems as Hamlet: at least nine in all. Scarcely has Polonius seen off Laertes to Paris than he is sending Reynaldo after him to spy on his moral conduct. When Hamlet’s old friends Rosencrantz and Guildenstern turn up, they are immediately recruited by Claudius to spy on Hamlet. When the troupe of actors arrives, Hamlet himself immediately sets up the evening’s entertainment as his trick to ‘catch the conscience of the king’. Polonius and Claudius set Ophelia to waylay Hamlet as he is walking in the palace, then settle behind a pillar to spy on them. Polonius eavesdrops behind the arras, to spy on Hamlet and the Queen. Claudius packs off Hamlet to England with Rosencrantz and Guildenstern, supplied with letters to ensure that Hamlet will be murdered when they get there. Claudius and Laertes finally plot to trap Hamlet with the poisoned foils. While over all this, forming the outlines of the tragedy itself, hang the two greatest plots of all: Claudius’s original plot to poison his brother in order to usurp the throne; and Hamlet’s own, conceived at the prompting of the Ghost, to murder Claudius.
当然，重要的一点不仅在于这些计划中的每一个都是出于自我中心的动机，而且几乎所有这些计划最终都产生了与预期完全相反的结果。随着悲剧愈演愈烈，他们的结局也变得对阴谋者本身来说越来越致命。偷听的波洛尼厄斯被刺死。当罗森克兰茨和吉尔登斯特恩到达英格兰时，由于哈姆雷特灵巧的步法，他们被处决了。喝下毒杯的是格特鲁德，而不是哈姆雷特。雷欧提斯被自己的剑毒死。一切都尽其所能地出错，直到最后克劳狄斯和哈姆雷特自己也被他们自己策划的一系列事件所摧毁。莎士比亚多么热衷于向我们强调这一点，将其作为了解该剧真正内容的核心关键。我们从《哈姆雷特》中得到那句最熟悉的短语绝非偶然，它描述了当人们开始欺骗他人时，他们的狡猾计划往往会反弹到他们身上：“工程师搬起石头砸自己的脚”。一次又一次，直到最后的谢幕，
The significant point, of course, is not just that every one of these schemes is egocentrically motivated but that almost all of them end up producing a result exactly opposite to that intended. As the tragedy darkens, their outcomes become more and more fatal to the plotters themselves. The eavesdropping Polonius is stabbed to death. When Rosencrantz and Guildenstern reach England, thanks to Hamlet’s deft footwork, it is they who are executed. It is Gertrude, not Hamlet, who drinks the poisoned cup. Laertes dies poisoned by his own sword. Everything goes exactly as wrong as it could, until finally Claudius and Hamlet are themselves destroyed by the chain of events their own plotting has set in motion. And how keen Shakespeare is to underline this for us as a central key to what the play is really about. It is no accident that we get from Hamlet that most familiar phrase about the way in which, when people set out to deceive others, their devious plans have a habit of rebounding on them: ‘the enginer hoist with his own petard’. Again and again, right up to the final curtain, we hear this point being hammered home: how Laertes admits he has been caught ‘as a woodock to mine own springe’, how ‘purposes mistook fall on their inventors’ heads’, how ‘our wills and fates so contrary run, that our devices still are overthrown’.
莎士比亚比他的任何其他戏剧都更深刻地向我们展示了一个人世，在这个世界中，每个人都陷入了自欺欺人的利己主义的迷雾之中。每个人都在试图欺骗别人。每个人都在某种程度上假装自己不是真实的自己。每个人都躲在虚假面具后面躲避世界，尤其是哈姆雷特本人假装生气。剧中几乎没有一个人真正忠于自己的内心。正如波洛尼乌斯本人所说，“对你自己要诚实”，“那么你就不能对任何人不诚实”。如果这只能从字面上理解，而不仅仅是一个自大的老傻瓜所说的一连串陈词滥调，那么它恰恰体现了《哈姆雷特》中没有人的真理。有能力达到。莎士比亚真正告诉我们的是，这不仅仅是影响埃尔西诺一小群人的问题。这是一个几乎普遍存在的问题。人性的阴暗面注定了人们一生都可能将自己的自私隐藏在这样的面具后面，直到他们最终像约里克一样，只剩下骷髅和骨头。
What Shakespeare is showing us, more searchingly than in any other of his plays, is a human world in which everyone is caught up in the fog of self-deceiving egotism. Everyone is trying to trick someone else. Everyone is in some way pretending to be something other than what they really are. Everyone is hiding from the world behind a false mask, not least Hamlet himself in pretending he is mad. Almost no one in the play is really being true to his or her inmost self. As Polonius himself puts it, ‘to thine own self be true’, and ‘thou cans’t not then be false to any man’. If this could only be taken literally, and not just as one of a string of sententious clichés uttered by a pompous old fool, it embodies precisely the truth no one in Hamlet is capable of living up to. And what Shakespeare is really telling us is that this is not just a problem affecting one little group of people in Elsinore. It is a problem which is well-nigh universal. The dark side of human nature ordains that people may conceal their egotism behind such masks all their lives, until they end up, like Yorick, as no more than a skull and bones.
莎士比亚在这里所关心的是人类在世界面前假装虚伪的无限能力，在表面上善于交际的外表下隐藏着他们不懈的自我中心主义。在这方面，剧中没有哪个段落比教堂墓地的场景更能说明问题，哈姆雷特在最后一幕开始时与掘墓人互相开玩笑。围绕着每个人的结局的可怕证据，哈姆雷特挑出了最明显依赖于自欺欺人的虚荣心的人的例子。他认为，其中一个头骨可能是一位政客的头骨，他是一个如此虚伪和自私的人，以至于他“会规避上帝”。另一个可能是律师。他自以为是地保护自己免受世界人类现实影响的那些华丽的法律术语现在都在哪里？现在这位朝臣在哪里，带着他所有的空洞的奉承（“早上好，亲爱的主人。你好吗，亲爱的主人？”）？他简直就是‘蠕虫女士’的财产。至于那些带着化妆品的面具在世人面前蒙人的女人，让她们“画一寸厚”，最终还是会化为臭尘。即使是世界上最伟大的人物，无论其权力和盛况如何，例如亚历山大或“专横的凯撒”；他们现在在哪里，但“死了，变成了泥土”。让他们“画一寸厚”，最终还是会化作臭气熏天的灰尘。即使是世界上最伟大的人物，无论其权力和盛况如何，例如亚历山大或“专横的凯撒”；他们现在在哪里，但“死了，变成了泥土”。让他们“画一寸厚”，最终还是会化作臭气熏天的灰尘。即使是世界上最伟大的人物，无论其权力和盛况如何，例如亚历山大或“专横的凯撒”；他们现在在哪里，但“死了，变成了泥土”。
What Shakespeare is concerned with here is the infinite capacity of human beings to put on a false front to the world, the seemingly sociable persona behind which they conceal their unremitting egotism. And no passage in the play is more telling in this respect than the churchyard scene, where Hamlet swaps badinage with the gravedigger at the start of the final act. Surrounded with the grisly evidence of how every human being ends up, Hamlet singles out examples of the types of people who most obviously rely on the self-deceiving vanity of the persona. One skull, he suggests, may be that of a politician, someone so false and self-seeking that he ‘would circumvent God’. Another could be that of a lawyer. Where now is all that high-flown legal jargon with which he self-importantly protected himself from the human reality of the world? Where now is the courtier, with all his empty flatteries (‘Good morrow, sweet lord. How dost thou, sweet lord?’)? He is simply the property of ‘Lady Worm’. As for all those women who put on a deceiving front to the world with their masks of cosmetics, let them ‘paint an inch thick’, they will still end up as stinking dust. Even the greatest ones of the earth, in all their power and pomp, Alexander or ‘imperious Caesar’; where are they now, but ‘dead and turned to clay’.
就像麦克白在他自己的悲剧的同一阶段的“明天和明天”独白中一样，哈姆雷特现在认为人类世界除了自私和徒劳的伪装之外没有任何更高的统治。我们只不过是可怜的自我驱动的傻瓜：虚荣的演员，在我们“尘土飞扬的死亡”之前，在生命舞台上昂首阔步、烦恼不已。这只是个人的生活方式。在这个由无数欺骗性、诡计多端的小我组成的人类社会图景的背后，是世界更广阔的舞台，各国的集体小我在同一个徒劳的斗争中竞争。
Like Macbeth in the ‘tomorrow and tomorrow’ soliloquy at exactly the same stage of his own tragedy, Hamlet now sees the human world as governed by nothing higher than egotism and futile pretence. We are no more than poor ego-driven fools: vain actors strutting and fretting our brief time on the stage of life before we come to ‘dusty death’. And this is merely how individuals lead their lives. Behind this picture of human society made up of countless deceiving, scheming little egos, all competing with each other for approval and selfish advantage, lies the wider stage of the world where the collective egos of whole nations compete in the same futile struggle.
贯穿《哈姆雷特》的另一条线索国家间的竞争是对精神和精力的浪费，因为它们之间争夺空洞的霸权。 在戏剧开始时，我们听到丹麦正在准备对挪威的战争。但我们随后听说，两国通过支付大笔资金，化解了这场所谓的致命争吵，成为盟友；福丁布拉斯（“武器强大”）领导下的挪威军队现在正在向遥远的波兰进军：只是为了争夺“一小块除了名字之外没有任何利润的土地”。当福丁布拉斯的士兵们踏上这场对外战争的征途时，没有人比哈姆雷特更清楚地看到人类如何准备“在荣誉受到威胁时在一根稻草中寻找争吵”的荒谬性。他惊恐地预见到这“两万人”将面临怎样的命运，
Another thread running through Hamlet is the wasting of spirit and energy which goes into the rivalry of nations as they battle for empty supremacy over each other, At the start of the play we hear how Denmark is preparing for war against Norway. But we subsequently hear that the two countries have mended this supposedly deadly quarrel, on the payment of a large sum of money, to become allies; and that the Norwegian army under Fortinbras (‘strong in arms’) is now marching instead against distant Poland: simply to fight over ‘a little patch of ground that hath in it no profit but the name’. As Fortinbras’s soldiers tramp through Denmark on their way to this foreign war, no one sees more clearly than Hamlet the absurdity of how human beings are prepared ‘to find quarrel in a straw when honour’s at the stake’. He foresees with horror how these ‘twenty thousand men’ may be doomed, for a ‘mere fantasy and trick of fame’ to ‘go to their graves like beds’.
然而，他一表达出对这种自欺欺人的疯狂的蔑视，就立即下定决心，从这一刻起，他自己的想法也必须同样“血腥，否则毫无价值”。然后我们立即切入奥菲莉亚的画面，她现在被哈姆雷特本人逼迫她的疯狂所撕裂，但在她的精神错乱中却说出了清晰的真相。她问道，一个人如何才能告诉一个真正爱的人。他的“海蛤帽和手杖”是一位神圣朝圣者的外在标志：为了更高的、自我超越的事业而放弃了自我的欺骗和自欺。奥菲莉亚之所以发疯，是因为她周围的世界都疯了。只有她一个人与自我的世界保持着联系，在那里她仍然可以看到她周围的每个人都失去的心灵和灵魂的价值观。
Yet no sooner has he expressed his scorn for such self-deceiving madness than he goes on to resolve that, from this moment on, his own thoughts must be similarly ‘bloody, or be nothing worth’. We then cut immediately to the sight of Ophelia, now torn apart by that madness to which Hamlet himself has driven her, yet in her derangement speaking limpid truth. How can one tell someone who truly loves, she asks. By his ‘cockle hat and staff’, the outward signs of a holy pilgrim: one who has surrendered the deceits and self-deceits of the ego for a higher, self-transcending cause. Ophelia has only been driven mad because the world around her is mad. She alone has remained in touch with the world of the Self, where she alone can still see those values of heart and soul which everyone around her has lost.
然而事实仍然是，莎士比亚受到这个原始传说的启发，创作了这幅关于人性阴暗面的难以言喻的暗淡图画，这个传说简单地描述了一个年轻人以最古老、最典型的方式找到了自己的男子气概和命运，通过赢得胜利公主并继承父亲成为国王。为什么他想要与典型模式进行如此彻底的决裂？
Yet the fact remains that Shakespeare was inspired to create this unutterably bleak picture of the dark side of human nature by that original legend which simply describes a young man finding his manhood and destiny in the most time-honoured, archetypal fashion, by winning the hand of the Princess and succeeding his father as king. Why has he wanted to make such a shattering break with the archetypal mould?
正如我们所看到的，对于讲故事来说，没有什么比一代人继承另一代人的思想更重要的了，而且英雄需要达到真正的成熟，这样才能以正确的方式实现这一点。然而，关于哈姆雷特，可以肯定的一件事是他无法实现这一转变。他注定永远不会长大。当我们看到他陷入了犹豫不决的折磨状态时，他无法正确地对待自己内在的女性气质或男性气质。和许多其他悲剧英雄一样，因此，他仍然受制于他的“未实现的价值”，陷入了对“父亲”的无能为力的反抗状态，而他无法将自己变成“父亲”的光明版本。莎士比亚所做的就是通过改变以特别重要的方式呈现的基础，在更深的原型水平上检验这种原型模式。
No idea is more central to storytelling, as we have seen, than that of one generation succeeding to another, and of the need for the hero to reach true maturity so that this can be achieved in the right way. Yet the one thing that is certain about Hamlet is that he cannot make this transition. He is doomed never to grow up. As we see him trapped in his state of tortured irresolution, he cannot relate properly either to his inner feminine or to his masculinity. Like so many other tragic heroes, he thus remains in thrall to his ‘unrealised value’, trapped in a state of impotent rebellion against the ‘Father’ of which he cannot turn himself into the light version. What Shakespeare has done is put this archetypal pattern to the test on a still deeper archetypal level, by changing the basis on which it is presented in a particularly significant way.
当《杰克与魔豆》的英雄杀死了谋杀了他的父亲并窃取了他的遗产的巨人，我们一刻也不会质疑他这样做的权利，因为巨人被描绘成只不过是人类自我中心的可怕化身。巨人无疑是黑暗的，英雄是光明的，当珀尔修斯通过向他展示美杜莎的头来杀死他的继父波吕得克忒斯时，这似乎是完全合理的，因为波吕得克忒斯是一个残忍、无情的暴君。阿拉丁杀死他的“继父”和巫师“叔叔”时也是如此。尼古拉斯·尼克尔比的邪恶叔叔拉尔夫，他死去父亲的兄弟，偷走了他的遗产，最终被抓住并上吊自杀，情况也是如此。同样的道理，无数其他被剥夺权利的儿子通过讲故事而成功战胜了可怕的“黑暗父亲”，夺取了与生俱来的权利。但是，很刻意地，莎士比亚改变了这种模式。哈姆雷特决定杀死他篡位的继父的灵感仅来自于无法缓解的黑暗幽灵。屈服于这种诱惑的结果是哈姆雷特本人被自己本性的黑暗所淹没。显然，幽灵催促哈姆雷特采取的做法是他不应该遵循的。那么莎士比亚想告诉我们什么呢？
When the hero of Jack and the Beanstalk slays the giant who has murdered his father and stolen his inheritance, we do not for a moment question his right to do so, because the giant is portrayed as nothing but a monstrous personification of human egotism. The giant is unmistakably dark, the hero is light, When Perseus slays his stepfather Polydectes, by showing him the head of the Medusa, this seems wholly justifiable, because Polydectes is a cruel, heartless tyrant. It is the same when Aladdin slays his ‘stepfather’ and ‘uncle’ the Sorcerer. It is the same when Nicholas Nickleby’s wicked Uncle Ralph, his dead father’s brother who has stolen his inheritance, is finally caught out and hangs himself. It is the same when all the countless other dispossessed sons who teem through storytelling manage to overcome the monstrous ‘Dark Father’ to claim their birthright. But, quite deliberately, Shakespeare varies this pattern. The inspiration for Hamlet’s decision to kill his usurping stepfather comes only from the Ghost, who is unrelievedly dark. The result of obeying that temptation is that Hamlet himself becomes overwhelmed by the darkness in his own nature. Clearly the course the Ghost is urging on Hamlet is one he should not follow. So what is Shakespeare trying to tell us?
线索在于鬼魂催促哈姆雷特做什么的本质。“老哈姆雷特”并没有亲切地要求他的儿子做一些可能直接促进“年轻哈姆雷特”自身福利的事情。他唯一关心的是为自己的死报仇。他生前曾犯下“严重罪行”，现在正在受到惩罚，但他仍然完全被锁在自己的自我世界里，现在又指示他的儿子犯下同样无情的罪行。莎士比亚从这个最初的核心逐渐发展出一幅人类世界的图景，在这个世界中，几乎每个人都同样被自我所困，没有人比哈姆雷特本人更敏锐地意识到这一点。“我们都是彻头彻尾的无赖，”他对奥菲莉亚说，“谁都不相信我们。” “每个人都应得的，谁应该‘逃脱鞭打？’” 他暗示，每个人，和其他人一样处于罪孽之中。'什么新消息？' 哈姆雷特问罗森克兰兹。“没有，大人，但世界变得诚实了。” 哈姆雷特回答道：“那么世界末日就快到了，但你的消息不是真的”。故事中只有两个人物没有受到这种无情的、普遍的利己主义诅咒的影响。其中之一是“忠实的霍雷肖”，他的角色只是成为哈姆雷特的忠实朋友。当然，另一个是奥菲莉亚，代表着闪亮、无私的“光明女性”，这就是为什么她被排除在一个根本不被理解的世界之外的原因，也是为什么哈姆雷特告诉她退休到修道院，因为如果她难道她只会成为更多罪人的养育者吗？故事中只有两个人物没有受到这种无情的、普遍的利己主义诅咒的影响。其中之一是“忠实的霍雷肖”，他的角色只是成为哈姆雷特的忠实朋友。当然，另一个是奥菲莉亚，代表着闪亮、无私的“光明女性”，这就是为什么她被排除在一个根本不被理解的世界之外的原因，也是为什么哈姆雷特告诉她退休到修道院，因为如果她难道她只会成为更多罪人的养育者吗？故事中只有两个人物没有受到这种无情的、普遍的利己主义诅咒的影响。其中之一是“忠实的霍雷肖”，他的角色只是成为哈姆雷特的忠实朋友。当然，另一个是奥菲莉亚，代表着闪亮、无私的“光明女性”，这就是为什么她被排除在一个根本不被理解的世界之外的原因，也是为什么哈姆雷特告诉她退休到修道院，因为如果她难道她只会成为更多罪人的养育者吗？
The clue lies in the nature of what the ghost is urging Hamlet to do. ‘Old Hamlet’ is not lovingly asking his son to do something which might directly further ‘young Hamlet’s’ own welfare. His sole concern is vengeance for his own death. Having been guilty in life of the ‘foul crimes’ for which he is now being punished, he is still locked entirely into the world of his own ego and is now instructing his son to commit an equally heartless crime in turn. And what Shakespeare gradually develops from this original core is a picture of a human world in which almost everyone is similarly trapped by the ego, as no one is more acutely aware than Hamlet himself. ‘We are arrant knaves all,’ he says to Ophelia, ‘believe none of us.’ ‘Use every man after his deserts, and who should ’scape whipping?’ Every human being, he implies, is as much in a state of sin as everyone else. ‘What news?’ Hamlet asks Rosencrantz. ‘None, my lord, but that the world’s grown honest.’ ‘Then is doomsday near’ replies Hamlet, ‘but your news is not true’. Only two figures in the story are not tainted with this relentless, universal curse of egotism. One is the ‘faithful Horatio’, whose role is simply to be Hamlet’s loyal friend. The other, of course, is Ophelia, representing the shining, selfless ‘light feminine’, which is why she becomes shut out from a world where this is simply not understood, and why Hamlet tells her to retire to a nunnery, since if she does not she will only become a breeder of yet more sinners.
在这方面，奥菲莉亚扮演的角色与《安提戈涅》中的女主角非常相似，其中暴君克瑞翁统治下的底比斯城，就像埃尔西诺一样，是一个被严酷、无爱的男性价值观所压迫的世界的缩影，它谈论着荣誉和复仇。 。底比斯也回响了武装人员的脚步声，埃忒奥克勒斯和波吕尼刻斯陷入了以自我为中心的竞争之中，这最终导致了他们的死亡，让安提戈涅与奥菲莉亚一样孤立，代表了其他人所缺乏的赋予生命的女性价值（尽管安提戈涅是“主动的”而奥菲莉亚是“被动的”）。安提戈涅像哈姆雷特，在布满尸体的舞台上结束，这是由无情、痴迷于复仇、“以眼还眼”的男性道德造成的。哈姆雷特以军鼓声结束，福丁布拉斯到达时看到埃尔西诺宫廷的“惨淡景象”让他想起了战场。他命令以“士兵的音乐和战争仪式”来纪念哈姆雷特，戏剧以“去吧，命令士兵开枪”结束，随后是炮火声。《年轻的哈姆雷特》可能没能接替《老哈姆雷特》。但现在，好战的“年轻的福丁布拉斯”继承了他的叔叔“老福丁布拉斯”的王位，并在哈姆雷特临终前的认可下，也继承了丹麦王位。尽管这个可怕的例子说明了对片面男性价值的无爱追求最终会导致什么结果，没有吸取任何教训。在战争和死亡的声音中，人类自我主义的恶性循环似乎注定会一代又一代地继续下去，直至灭亡。
In this respect Ophelia plays much the same role as the heroine in Antigone, where the city of Thebes under the Tyrant Creon is, like Elsinore, a microcosm of a world oppressed by the harsh, loveless masculine value, with its talk of honour and vengeance. Thebes too has resounded to the tramp of armed men, with Eteocles and Polynices locked in the egocentric rivalry which was to bring both to their deaths, leaving Antigone as isolated as Ophelia in representing the life-giving feminine value which everyone else lacks (even though Antigone is ‘active’ and Ophelia ‘passive’). Antigone, like Hamlet, concludes on a stage strewn with corpses, brought about by heartless, vengeance-obsessed, ‘eye for an eye’ masculine morality. Appropriately Hamlet ends with the sound of military drum beats, as Fortinbras arrives to see the ‘dismal sight’ of the court of Elsinore reminding him of a battlefield. He orders that Hamlet should be honoured with ‘the soldier’s music and the rite of war’, and the play closes on the line ‘Go, bid the soldiers shoot’, followed by the noise of cannon-fire. ‘Young Hamlet’ may have failed to succeed ‘Old Hamlet’. But now the warlike ‘young Fortinbras’, who had succeeded his uncle ‘Old Fortinbras’, has, with the approval of Hamlet’s dying breath, succeeded also to the throne of Denmark. Despite this fearsome illustration of what the loveless pursuit of the one-sided masculine value must in the end lead to, no lesson has been learned. To the sounds of war and death, the vicious circle of human egotism seems destined to carry on, generation succeeding generation, to the crack of doom.
“男人是多么伟大的作品啊”
‘What a piece of work is a man’
正是《俄狄浦斯暴君》和《哈姆雷特》表面上的模糊性将他们置于自己的维度中。因为它们以世界文学中任何其他故事所无法比拟的深度和微妙程度，解开了人类生存核心的核心谜团。
It is precisely the seeming ambiguity of Oedipus Tyrannos and Hamlet which puts them in a dimension of their own; for they tease out the central riddle at the heart of human existence with a depth and subtlety unmatched by any other stories in world literature.
俄狄浦斯是一个似乎拥有一切的人。他是一位明智、受人尊敬的国王，周围有一位慈爱的妻子和孩子。然而他的王国突然出现了危机，他发现自己对自己真的一无所知，不知不觉中自己已经成为世界上最罪大恶极的罪人。哈姆雷特是一位似乎拥有一切的王子：聪明才智、非凡的天赋、一个爱他、他也爱的女孩；他继承成年和王位所需的一切。然而，王国突然出现了危机，就在实现这一目标的过程中，他发现自己无可挽回地成为了一个注定要死的罪人。
Oedipus is the man who seems to have everything. He is a wise, respected king, surrounded with a loving wife and children. Yet suddenly a crisis arises in his kingdom and he discovers that he really knows nothing about himself at all, and that unwittingly he has become the worst sinner in the world. Hamlet is the prince who seems to have everything: intelligence, wit, unusual gifts, a girl who loves him and whom he loves; everything necessary for him to succeed to manhood and kingship. Yet suddenly a crisis arises in the kingdom, and in the very act of achieving that goal he finds he has irretrievably become a sinner doomed to die.
这就是索福克勒斯和莎士比亚所看到的人性的全部吗？人类生活中最终没有什么比享受空虚的、自欺欺人的自我主义以及随之而来的死亡更高的了？哈姆雷特本人可能已经这么暗示了，在那段精彩而令人毛骨悚然的段落中，他惊呼道：
Was this all that Sophocles and Shakespeare could see in human nature? That there is ultimately nothing higher in human life than to enjoy the empty, self-deceiving exercise of egotism, followed by death? Hamlet himself may have suggested so, in that wonderful, chilling passage where he exclaims:
“一个人是多么伟大的杰作，他的理性多么高尚，他的才能多么无限，他的形式和感动多么表达和令人钦佩，他的行动多么像天使，他的理解多么像神；世界之美，动物的典范。”
‘What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god; the beauty of the world, the paragon of animals.’
然而，他总结道，这一切最终除了毫无价值的“尘埃精华”之外又意味着什么呢？
Yet what in the end does all this amount to, he concludes, but a worthless ‘quintessence of dust’?
同样，在《安提戈涅》中，索福克勒斯的合唱团感叹地球上最伟大的奇迹是人类：
Similarly in Antigone, Sophocles’s Chorus exclaims how the greatest wonder on earth is man:
“永恒地球的主人……万物之主……他学会了语言的使用、大脑的快速运转；找到了在城市里共同生活的方式……没有什么是他力所能及的。他的机敏能应付一切机会，战胜一切危险，他为每一种疾病找到了治疗方法。
‘master of ageless Earth ... lord of all things living ... the use of language, the wind-swift motion of brain he learnt; found out the ways of living together in cities ... there is nothing beyond his power. His subtlety meeteth all chance, all danger conquereth, for every ill he found its remedy.’
然而他无药可救的一件事就是死亡。合唱团指出，在他本性的所有微妙之处中，没有什么比它如何吸引他“走向善行或恶道”更奇妙的了。
Yet the one thing for which he has no remedy is death. And of all the subtleties of his nature, none is more wondrous, notes the Chorus, than how it can draw him ‘either to good or evil ways’.
碰巧的是，索福克勒斯和莎士比亚最终都向我们展示了这个问题最终得到解决。在索福克勒斯的告别剧《科洛诺斯的俄狄浦斯》中，我们看到他的主人公在自我彻底被摧毁后，如何首先发展出内心的洞察力，使他能够直接而完整地看待世界，并最终能够回到一种状态与宇宙合一，不像其他凡人，
As it happens, both Sophocles and Shakespeare were eventually able to show us this problem being ultimately resolved. In Sophocles’s valedictory play, Oedipus at Colonus, we see how his hero, having had his ego utterly crushed, first developed that inner vision which allowed him to see the world straight and whole, and is eventually able to be received back into a state of one-ness with the universe, like no other mortal man,
为了获得与莎士比亚同样的最终解决感，我们还必须等待他的最后一部戏剧《暴风雨》。在关键方面，普洛斯彼罗就像哈姆雷特中幽灵的轻型版本。就像“老哈姆雷特”一样，他被一个黑暗、篡位的兄弟奸诈地剥夺了他的王国。但他并没有让自己变得黑暗，寻求血腥的复仇，而是经历了一个漫长的内心成长和转变的过程，直到他最终准备好面对他的阴影，赢得他对自己的罪行的悔改，然后原谅他。因此，这部戏剧可以在爱与和解的高调中结束，这首先以年轻的斐迪南王子和他的米兰达的结合为象征：哈姆雷特王子和他的奥菲莉亚的结合是如此悲惨地无法实现。普洛斯彼罗的所有努力都结束了。他最后一丝自负已经消失了。他已经救赎了他的内心王国，并变得完整。就像睿智的老俄狄浦斯一样，他与宇宙合而为一。
For the same sense of final resolution in Shakespeare we also have to wait for his last play, The Tempest. In crucial respects Prospero is like a light version of the Ghost in Hamlet. Like ‘Old Hamlet’, he has been treacherously dispossessed from his kingdom by a dark, usurping brother. But instead of then turning dark himself, to seek bloody vengeance, he has been through a long process of inner growth and transformation, until he is finally ready to confront his shadow, win him to repentance for his crime and then to forgive him. Thus can the play end on a trumphant note of love and reconciliation, symbolised above all by the union of the young Prince Ferdinand and his Miranda: the very union Prince Hamlet and his Ophelia were so grievously unable to achieve. All Prospero’s striving is at an end. The last vestige of his egotism is gone. He has redeemed his inner kingdom, and become whole. Like the wise old Oedipus, he has become one with the universe.
现在终于到了走出这个独立的讲故事的世界，看看我们讲故事的方式如何与我们所说的“现实生活”相关的时候了。
The moment has come at last to step outside this self-contained world of storytelling, and to see how the ways in which we tell stories relate to what we call ‘real life’.
第四部分
为什么我们讲故事
Part Four
Why We Tell Stories
“讲故事的人吸引了最多的人群。在他们周围，人群最密集，停留时间最长……他们的话语比普通人来得更远，悬在空中的时间也更长。
‘The largest crowds are drawn by the storytellers. It is around them that the people throng most densely and stay longest ... their words come from further off and hang longer in the air than those of ordinary people.’
第三十一章
告诉我们我们是谁，
自我与本能
Chapter Thirty-One
Telling Us Who We Are
Ego versus Instinct
“人与动物的区别就在于人会讲故事。”
‘The difference between men and animals is that men tell stories.’
来源不明
Source untraced
在本书的开头，我引用了罗伯特·弗罗斯特那首令人难忘的小诗
At the beginning of this book I quoted that haunting little poem by Robert Frost
“我们围成一圈跳舞，然后假设，
‘We dance around in a ring and suppose,
但秘密就在中间并且知道。”
But the Secret sits in the middle and knows.’
无意以任何方式贬低我们伟大的故事讲述者的天才，如果我们从过去的几百页中看到一件事的话，那就是即使是他们中最伟大的人所讲述的故事在很大程度上也不是他们自己的。他们的技巧在于他们有能力找到新的外在服装，来装饰一个已经潜在的主题，不仅在他们自己的头脑中，而且在观众的头脑中。我们在本书的前三部分中看到的是故事如何在人类的想象力中围绕人类共同财产的某些原型模式和图像形成。此外，在最深层次上，他们传达的信息的本质始终是相同的。
Without in any way wishing to detract from the genius of our great storytellers, if there is one thing we have seen emerging from the past few hundred pages it is the extent to which the stories told by even the greatest of them are not their own. Their skill lies in the power with which they manage to find new outward clothing in which to dress up a theme which is already latent, not only in their own minds but in those of their audience. What we have seen in the first three sections of the book is how stories take shape in the human imagination round certain archetypal patterns and images which are the common property of mankind. Furthermore, at the very deepest level, the essence of the message they are putting across is always the same.
这表明了一些真正令人敬畏的事情。这是故事从人类思维中的某个地方出现的程度，它独立于任何讲故事者的有意识控制而自主地发挥作用。这个想法并不像看起来那么令人吃惊，因为我们在某种程度上都熟悉它，就像我们经历梦的方式一样。根据定义，构成我们梦的一系列意象是由我们完全无意识的大脑的另一部分塑造并呈现给我们的意识（即使我们在睡觉）。确实，梦比故事更明显地是做梦者个人无意识的产物（尽管它们通常可以呈现出更普遍的、原型维度）；创作一个故事需要讲故事者大脑的有意识和无意识层面之间的合作，而这在我们做梦时是不适用的。但理解故事的真正关键在于了解它们最终如何植根于全人类共同的无意识层面；以及“位于中间”的“秘密”如何赋予它们潜在的形状和目的，总是试图提出相同的基本点。
What this points to is something the implications of which are truly awesome. This is the extent to which stories emerge from some place in the human mind which functions autonomously, independent of any storyteller’s conscious control. This is not so startling an idea as it might seem, because we are all in a sense familiar with it in the way in which we experience dreams. By definition, the sequences of imagery which make up our dreams are shaped and presented to our conscious awareness (even though we are asleep) by another part of the brain of which we are wholly unconscious. It is true that dreams are more obviously than stories the products of the dreamer’s own personal unconscious (although they can often take on a more universal, archetypal dimension); and to compose a story requires a collaboration between the conscious and unconscious levels of the storyteller’s mind which cannot apply when we dream. But the real key to understanding stories lies in seeing how they are ultimately rooted in a level of the unconscious which is collective to all humanity; and how the ‘Secret’ which ‘sits in the middle’, giving them their underlying shape and purpose, is always trying to put over the same fundamental point.
当我们读到本书的最后一部分时，我们终于可以面对也许是最有趣的问题了。为什么会有进化过程我们发展了这种能力并需要想象故事吗？它的目的是什么？讲故事所唤起的想象世界与我们所谓的“现实生活”有何关系？
As we come to this final part of the book we can at last confront what are perhaps the most interesting questions of all. Why has the evolutionary process developed in us this ability and need to imagine stories? What is its purpose? How does the imaginary world conjured up by storytelling relate to what we call ‘real life’?
回答这些问题的适当起点在于我们现在第一次研究的两种专门类型的故事。
An appropriate starting point from which to answer these questions lies in two specialised types of story we now look at for the first time.
在一开始的时候
In the beginning
我们的想象故事能力满足了人类最深层次的需求之一，那就是我们渴望有一个解释性和描述性的图画来描述世界是如何开始以及我们如何进入其中的。世界上没有一种文化不拥有至少一个伟大的故事来解释世界是如何形成的，所有这些故事都有某些共同点。但是，从广义上讲，它们分为三个主要类别。
One of the deepest human needs met by our faculty for imagining stories is our desire for an explanatory and descriptive picture of how the world began and how we came to be in it. There is no culture in the world which does not possess at least one great story to account for how the world came into being, and all such stories have certain things in common. But, broadly speaking, they subdivide into three main categories.
最简单的版本是源自犹太神话并在《创世记》一书的开头列出。这是不典型的，因为它始于一种有意识的力量，“上帝”，他以高度系统和有序的方式策划整个创造过程。他先于其他一切而存在，只有他自己。然后他创造了二元性：天与地。大地笼罩在黑暗之中，“无形且空虚”。然后，“上帝的灵”“在水面上移动”并召唤光出现（先于任何物理光源，例如太阳）。这一非常重要的事件（海顿创作开始时的 C 大调爆炸声最为戏剧化地描绘了这一事件））创造了第二种二元性，即光明与黑暗之间。然后，上帝在大地与天空、陆地与海洋之间创造了进一步的二元性。最后，他继续有序地创造了太阳、月亮和星星，然后是居住在地球上的所有特定类型的生物：植物、鱼类、爬行动物、哺乳动物、鸟类，最后是人类。每个新物种在被创造出来时看起来都已完全成形。据描述，整个创作是在六天内完成的，整个事情就像核对购物清单一样整齐。
The simplest version is that derived from Jewish mythology and set out at the beginning of the book of Genesis. This is untypical because it begins with a conscious power, ‘God’, who masterminds the whole process of creation in a highly systematic and orderly fashion. He is there before everything else, himself alone. He then creates a duality, heaven and earth. Covered in darkness, the earth is ‘without form and void’. The ‘Spirit of God’ then ‘moves upon the face of the waters’ and calls Light into being (preceding any source of physical light, such as the sun). This highly significant event (never more dramatically portrayed than by the C Major explosion of sound at the start of Haydn’s Creation) creates a second duality, between light and dark. God then creates further dualities, between the earth and the sky, land and sea. Finally he proceeds to the orderly creation of the sun, the moon and the stars, followed by all the specific types of living creature which inhabit the earth: plants, fish, reptiles, mammals, birds, culminating in man. Each new species when it is created appears fully-formed. The entire creation is described as having been brought about in six days, and the whole thing has been unrolled as neatly as checking off a shopping list.
只是因为在西方文化中我们对这个版本非常熟悉，所以我们才更普遍地意识到它是多么不典型。世界上几乎所有其他创世神话中都存在第二个版本，它给人的印象是一个过程更加费力、神秘和漫长。这一切背后可能有某种伟大的精神或宇宙思想，几乎所有不同的版本都以黑暗和无形的混乱的形象开始。但是，所有这些其他宇宙起源或创世神话与犹太基督教版本的区别在于，我们可识别的世界的出现是通过我们所谓的“进化”过程发生的，因为每个新的组成部分都是从之前的事物中发展而来的。例如，在新西兰 Ngaitahu 人中发现的一个典型的南太平洋神话中，原始的虚空，没有光、热、声音，形式或运动，是“Po”。然后我们会听到如何：
Only because in Western culture we are so familiar with this version are we not more generally aware just how untypical it is. The second version, found in almost every other Creation myth in the world, gives the impression of a process infinitely more laborious, mysterious and long drawn-out. There may be some Great Spirit or cosmic mind behind it all, and almost all the different versions begin with an image of dark and formless chaos. But what marks off all these other cosmogonic or Creation myths from the Judaeo-Christian version, is that the emergence of our recognisable world takes place by what we would call an ‘evolutionary’ process, as each new component develops out of what came before. In a typical myth of the south Pacific, for instance, found among the Ngaitahu people of New Zealand, the original void, without light, heat, sound, form or movement, is ‘Po’. We then hear how:
“波生了光，光生了日光，光生了持久的光，光生了无占有，不愉快生了不快，摇晃生了无父母，湿生了湿，湿娶了巨大的光并生下了天空拉基。” 1
‘Po begat Light, who begat Daylight, who begat enduring Light, who begat Without-possession, who begat Unpleasant, who begat Wobbly, who begat No-Parents, who begat Damp, who married Huge Light and begat Raki, the Sky.’1
此类神话的另一种变体包括那些以男性和女性“世界父母”的出现为特征的神话。在北欧版本中，创作始于尼福尔海姆广阔、多云的国度。在黑暗中，巨大的原始生物最终出现在视野中：首先是一个从冰中出现的男性巨人尤米尔，然后是一个女性生物，奥杜姆拉，“世界牛”。最终，所有其他生物，包括神、人类和动物，都是从它们中诞生的。
Another variation on this type of myth includes those which feature the emergence of a male and a female being, the ‘world parents’. In the Norse version creation begins with the vast, cloudy realm of Niflheim. Here in darkness immense primordial beings eventually heave into view: first a male giant Ymir, who emerges from ice, then a female being, Audumla, the ‘world cow’. It is eventually from them that all other beings emerge, including gods, humans and animals.
然而，在世界各地的不同文化中发现的此类故事最广泛的版本也许是从原始虚空中单个创造物的图像开始的。这个“世界蛋”本身蕴含着未来所有多样性的潜力。从古埃及到太平洋岛屿，从芬兰到日本，从印度教和佛教印度到古希腊的俄耳甫斯神秘，这个主题的变体随处可见。然后，“蛋”从自身中分化出来，产生一系列新的实体，这些实体通常没有非常明确的定义，只是逐渐基本分裂为大地和天空、陆地和海洋等二元性。几乎总是一个关键事件是光的到来，创造光明和黑暗的极性（这又先于特定光源的到来，例如太阳和月亮）。造物的细节逐渐显现出来，就像特定生物的外观一样。重要的是，每一项都是从之前的内容演变而来的。
Perhaps the most widespread version of this type of story, however, found in different cultures all over the world, is that which begins with the image of a single created object set in the primeval void. This ‘World Egg’ contains within itself the potential for all the diversity that is to come. Variations on this theme have been found everywhere from ancient Egypt to the Pacific islands, from Finland to Japan, from Hindu and Buddhist India to the Orphic mysteries of classical Greece. The ‘Egg’ then differentiates out of itself, producing a sequence of new entities, often not very clearly defined, which only gradually become such basic splittings into duality as earth and sky, dry land and sea. Almost invariably a crucial event is the coming of Light, creating the polarity of light and dark (which again precedes the arrival of specific sources of light, such as sun and moon). Gradually the details of the creation emerge, as in the appearance of specific creatures. What is important is that each of these evolves from what had come before it.
第三个版本可能是我们今天最熟悉的版本，它是我们现代世界在过去两个世纪中发展起来的版本。但它仍然是“讲故事”，从这个意义上说，我们可以像看待任何其他类型的故事一样看待它。
The third version, probably the most familiar to us today, is that which has been developed in our modern world over the past two centuries. But it is still ‘telling a story’, and in this sense we can look at it just as we would look at any other type of story.
宇宙诞生的“大爆炸”理论表明，一开始存在着氢原子的聚集体，它们被紧密地压缩在一起，直径只有几毫米，质量几乎无限。这可以说是一个“万能蛋”，其中蕴含着接下来发生的一切的潜力。在大约 150 亿年前的某个时刻，这个“蛋”爆炸了，爆炸的力量如此之大，以至于电子从一个原子核跳到另一个原子核，产生了所有其他元素的原子。这些原子仍然构成了物理宇宙和其中的一切，包括我们自己。渐渐地，随着物质以巨大的速度从最初的“蛋”中向外爆炸，宇宙呈现出可识别的形状。形成了数十亿个星系、数万亿颗恒星、无数行星，包括我们自己的行星。2当我们的注意力现在集中在一个小小的行星地球上时，我们看到各种基本的二元性正在出现，例如气态大气从地球表面分裂，陆地从海洋分裂。
The ‘Big Bang’ theory of the creation of the universe suggests that in the beginning there was an agglomeration of hydrogen atoms, so tightly compressed together that it was only millimetres across and of almost infinite mass. This constituted, as it were, a ‘Universal Egg’, which contained the potential for all that was to follow. At a certain point, somewhere around 15 billion years ago, this ‘Egg’ exploded, with such force that electrons jumped from one nucleus to another, creating the atoms of all the other elements. These were the atoms which still constitute the physical universe and everything in it, including ourselves. Gradually, as matter exploded outwards from the original ‘Egg’ at colossal speed, the universe took on a recognisable shape. Billions of galaxies were formed, trillions of stars, innumerable planets, including our own.2 And as our attention now focuses on one tiny planet, Earth, we see various basic dualities emerging, such as the splitting of gaseous atmosphere from the earth’s surface, land from sea.
然后，最惊人的发展发生了，不是光的到来，而是生命的到来。第一个氨基酸形成了，第一个自我复制分子出现了：然后生命的故事就变得很像白手起家的故事，或者更确切地说是一系列的故事，每一个都是从上一个进化而来的。我们的英雄原本是一个单细胞的小生物，他具有繁殖并成为生物的潜力。多细胞生物。后来，他成为水生生物，通过成为陆地生物，展现出从“低等”状态上升到“高等”状态的潜力。在每个阶段，英雄都揭示了一个从他之前的、更有限的“低等自我”中出现的“更高的自我”。当然，在每个阶段，他都越来越接近我们可以认出的我们自己。
Then the most startling development of all takes place, the coming not of Light but Life. The first amino-acids are formed, the first self-replicating molecules emerge: and the story of life then becomes rather like a Rags to Riches story, or rather a succession of them, each evolving out of the last. Our hero is originally a little one-celled creature who reveals the potential to multiply and become a multi-celled creature. Later he is a water creature who reveals the potential to rise from a ‘lower’ state to a ‘higher’, by becoming a land creature. At each stage the hero is revealing a ‘higher Self’ emerging from within his previous, more limited ‘inferior Self’. And of course at each stage he is getting nearer to something we can recognise as ourselves.
故事中有一个特别戏剧性的情节，在中生代，我们看到“怪物”（迟钝的冷血恐龙）和新英雄（第一个小型温血哺乳动物）之间出现了二元性。像许多大卫一样在歌利亚面前奔波：外表、身体上都没有那么令人印象深刻，但就像小大卫一样，拥有极其优越的脑力，最终注定要继承王国，当这个神话中的怪物，如暴龙霸王龙，它的暴君，被神秘地推翻了。
There is one particularly dramatic episode in the story, in the Mesozoic, when we see a duality emerging between ‘the Monster’, the slow-witted, cold-blooded dinosaurs, and a new hero, the first little warm-blooded mammals, who rush about like so many Davids in the presence of Goliath: outwardly, physically so much less impressive, but like little David endowed with vastly superior brain-power and ultimately destined to succeed to the kingdom, when the monsters of this mythology, such as Tyrannosaurus rex, its Tyrant King, have been mysteriously overthrown.
最终，另一位英雄从步履蹒跚的猿类和其他哺乳动物怪物的阴影中出现：第一批原始人类，在与猛犸象、剑齿虎和我们史前史中的其他“黑暗”人物斗争一段时间后，转向了原始人类。整个故事的终极英雄，智人，我们自己。
Finally comes the moment when another hero emerges from the shadow of shambling apes and other mammalian monsters: the first hominids who, after a time of struggling with mammoths, sabre-toothed tigers and other ‘dark’ figures of our immediate prehistory, turn unto the ultimate hero of the whole story, Homo sapiens, ourselves.
然而，英雄刚从阴影中显现出来，展现出他完全光荣的身份，我们就发现自己被卷入了另一个情节，以解释为什么我们还没有达到完全的幸福结局。
Scarcely has the hero emerged from the shadows into his full glorious identity, however, than we find ourselves being drawn into another plot to explain why we have not yet reached the full happy ending.
堕落：自我和想象力
The Fall: Ego and imagination
尽管世界上的每种文化都有其神话来解释宇宙的创造，但还有第二种非常重要的故事类型，但这种故事却很少见。这个神话讲述了在人类到达世界的最初阶段，如何发生了一件非同寻常的事件，该事件将他与其他造物分开，因为他与任何其他动物有着本质上的不同。
Although every culture in the world has its myths to explain the creation of the universe, there is a second very important type of story which is only found much more rarely. This is the myth which tells how, in the earliest stages of man’s arrival in the world, an extraordinary event took place which was to separate him from the rest of creation as being fundamentally different from any other animal.
同样，我们最熟悉的“人类的堕落”故事的版本是创世记中记载的版本。这向我们展示了第一个男人和第一个女人，亚当和夏娃，最初生活在一个叫做“天堂”的花园里（来自古波斯语“ pardis”）'，'花园'），处于与自然的幸福和不间断的统一状态。他们生活所需的一切都可供他们使用。一切都很好，直到他们屈服于蛇的诱惑并吃了“知识之树”的果实。此时，一些具体的事情发生在他们身上，改变了他们的生活。在获得这种神秘的“知识”时，他们意识到发生在他们身上的事情部分是祝福，部分是诅咒。他们被逐出乐园。他们开始意识到“善与恶”之间的区别。它们现在比所有其他生命形式都优越，但它们的存在也充满了新的麻烦。他们变得有自我意识；他们以赤身露体为耻，并隐藏自己的生殖器官。最后他们第一次知道，他们即将死去。
Again, the version of this story of the ‘Fall of Man’ with which we are most familiar is that recounted in the book of Genesis. This shows us the first man and the first woman, Adam and Eve, originally living in a garden called ‘Paradise’ (from the old Persian ‘pardis’, ‘a garden’), in a state of happy and unbroken unity with nature. Everything necessary for their life is available to them. All is well, until they succumb to the temptation of the Serpent and eat of the fruit of the ‘Tree of Knowledge’. At this point, several specific things happen to them, transforming their lives. In attaining this mysterious ‘knowledge’, they realise that what has happened to them is partly a blessing and partly a curse. They are expelled from Paradise. They become aware of a distinction between ‘Good and Evil’. They are now superior to all other forms of life, but their existence is filled with new troubles. They have become self-conscious; they are ashamed of their nakedness, and conceal their reproductive organs. Finally they know, for the first time, they are going to die.
这个故事的另一个熟悉的版本是包含在以普罗米修斯人物为中心的希腊神话综合体中的（“先见之明”）；他的兄弟埃庇米修斯（“事后的想法”）；以及后者的妻子潘多拉（“万物的赐予者”）。潘多拉被诸神赐予了一个神秘的容器，但她被告知无论如何都不能打开它，就像夏娃被告知不要吃知识树的果实一样。她这样做了，并向人类世界倾注了各种烦恼，例如嫉妒、色欲、疯狂、仇恨、谎言和战争。普罗米修斯从奥林匹斯山上的众神那里偷走了火的无价礼物，这在以前是众神的特权。为此，他被判处终身受苦，作为他所赢得奖品的代价：永远绑在一座大山上，每天他的肝脏，据说是人类满足的所在地，都被一只鹰啄食。
Another familiar version of this story is that contained in the complex of Greek myths centred on the figures of Prometheus (‘forethought’); his brother Epimetheus (‘afterthought’); and the latter’s wife Pandora (‘giver of all things’). Pandora is given by the gods a mysterious vessel, which she is told on no account to open, just as Eve is told not to eat the fruit of the Tree of Knowledge. She does so and out into the human world pour all sorts of troubles, such as envy, lust, insanity, hatred, lying and war. Prometheus steals from the gods on Olympus the priceless gift of fire, previously the prerogative of the gods alone. For this he is sentenced to a life of endless suffering, as the price of the prize he has won: tied in perpetuity to a great mountain, where every day his liver, supposedly the seat of human contentment, is gnawed by an eagle.
这两个来自文明之初的神话代表了前科学人类为解释智人进化的基本方式所做的最复杂的尝试。与地球上所有其他物种不同。所有其他动物完全凭本能度过一生。它们只能按照天生的基因编程方式行事。因此，他们生活在与自然完全统一的状态中。人类与其他物种的区别在于，早在史前时期，我们的祖先就开始发展出一种全新的意识水平，使他们能够走出自然框架。在地球生命史上，第一次有一个物种不再完全按照本能的指示生活。起初几乎是不知不觉地，然后越来越多地，它开始发展出选择如何以不同方式做事的能力：就像它学会了如何使用棍棒和石头来捕捉它猎取食物的动物一样；剥去他们的皮以提供保暖的衣服；用火使他们的肉更容易食用，并用语言进行交谈。
These two myths from the dawn of civilisation represent the most sophisticated attempts by pre-scientific man to account for the fundamental way in which Homo sapiens differs from every other species on earth. All other animals live out their lives entirely by instinct. They can only act as they have been genetically programmed to act, by nature. They thus live in a state of complete unity with nature. What marks out mankind from all other species is that, somewhere far back in prehistory, our ancestors began to develop an entirely new level of consciousness which allowed them to step outside that natural frame. For the first time in the history of life on this earth, there was one species which no longer lived entirely in accordance with the dictates of instinct in everything it did. At first almost imperceptibly, then more and more, it began to develop the capacity to choose how to do things differently: as in the way it learned how to use sticks and stones to catch the animals it hunted for its food; to strip off their skins to provide warm clothing; to use fire to make their meat more edible, and language in which to converse.
但伴随着这种新的意识水平而来的是另一种全新的东西。这个新物种的每个成员现在都有一种自己独立、个体存在的感觉。它有我们所说的自我。在这方面它与其他生物完全不同。谈论以自我为中心的鱼、蜜蜂或大象是没有意义的。但智人，无论是个人还是集体，都有自私行为的能力。正是这一点给他带来了动物王国中独一无二的问题。
But along with this new level of consciousness came something else that was entirely new. Each member of this new species now had a sense of its own separate, individual existence. It had what we call an ego. And in this respect it was totally different from any other creature. It is meaningless to speak of an egocentric fish or bee or elephant. But Homo sapiens, both individually and collectively, has the capacity to act selfishly. And it is this which has presented him with a problem which is unique in the animal kingdom.
所有这一切都是这些“秋天”故事无意识地象征的。当亚当和夏娃到达天堂时，他们处于“纯真”状态，反映了自然状态，每种动物一生都生活在不假思索地服从本能的状态。从这个意义上说，像任何其他动物一样，它们不对自己的行为负责，但将它们驱逐出花园标志着它们脱离了这种自然状态。他们在一种行为形式和另一种行为形式之间进行选择的新能力是他们区分善恶的意识的根源。正是它们重新排列与自然其他部分的关系的能力使它们优于所有其他生命形式。正是这种脱离自然的特殊意识形式，使人类具有自我意识，让他们感觉必须将自己身体的某些部位隐藏起来，不让大众看到。正是这种对自己有限的、个体存在的感觉告诉每个人，有一天它的生命必须结束：这就是为什么亚当和夏娃第一次知道他们最终将不得不死亡。
All this is what these stories of the ‘Fall’ are unconsciously designed to symbolise. When Adam and Eve arrive in Paradise they are in a state of ‘innocence’, reflecting that state of nature where every animal lives in unthinking obedience to instinct all its life long. In this sense, like any other animals, they are not responsible for their actions, But their expulsion from the garden marks their emergence from this state of nature. It is their new ability to choose between one form of behaviour and another which lies at the root of their sense of a distinction between good and evil. It is their ability to re-order the terms of their relationship with the rest of nature which gives them superiority over all other forms of life. It is this peculiar form of consciousness, standing apart from nature, which makes the human race self-conscious, giving them the sense that they must hide away parts of their body from general view. And it is this sense of their own finite, individual existence which tells each human being that one day its life must come to an end: which is why Adam and Eve know for the first time they will eventually have to die.
这个故事的希腊版本为该信息添加了更多元素。普罗米修斯和埃庇米修斯两兄弟的名字，“先谋”和“事后”，反映了这种新意识形式出现的另一个极其重要的后果。这就是它创造了想象力的力量：创造出物理感官所不存在的心理图像的能力。完全靠本能生活的动物只能活在当下、某个时间点。尽管许多其他物种可以从经验中学习，但只有人类能够完全超越当下，将心灵的目光向前和向后投射：想象尚未发生的事件或唤起对过去发生的事情的记忆。过去的。
The Greek version of the story adds further elements to the message. The names of the two brothers, Prometheus and Epimetheus, ‘forethought’ and ‘afterthought’, reflect another extraordinarily important consequence of the emergence of this new form of consciousness. This is that it creates the power of imagination: the ability to create mental images of that which is not present to the physical senses. An animal which lives entirely by instinct can live only in the moment, at one point of time. Although many other species can learn from experience, only human beings can rise above the present moment altogether, to cast their mind’s eye forward and back in time: to imagine events which have not yet happened or to summon up memories of that which happened in the past.
但最重要的后果是当潘多拉违背不打开她神秘密封的“花瓶”或容器的指示时所发生的事情。这不仅仅是人类摆脱自然束缚的又一形象。它给世界带来了一系列全新的麻烦，从嫉妒和欲望到仇恨和战争。而所有这些都是人类自我出现的副产品。正是这种以自我为中心的独立存在感切断了人类彼此之间的联系，潜在地使他们彼此之间以及与自然本身发生冲突，在一定程度上将他们与任何其他物种区分开来。当普罗米修斯从众神那里偷走“火”时，他真正窃取的是意识的神圣火花，它将人类与生活在无意识的本能束缚中的所有其他生命形式区分开来。然而，尽管这给予了所有新的自由，但也要付出可怕的代价，普罗米修斯痛苦地躺在高加索岩石上的形象就象征着这一点，他的肝脏每天都被贪得无厌的老鹰吃掉。这是一种永远挥之不去的不满状态，它必须源自自我意识所带来的所有新能力中最关键的能力：想象事物可能与实际情况不同的能力。他的肝脏每天都被贪得无厌的老鹰吃掉。这是一种永远挥之不去的不满状态，它必须源于自我意识所带来的所有新能力中最重要的能力：想象事物可能与实际情况不同的能力。他的肝脏每天都被贪得无厌的老鹰吃掉。这是一种永远挥之不去的不满状态，它必须源自自我意识所带来的所有新能力中最关键的能力：想象事物可能与实际情况不同的能力。
But the most significant consequence of all is that symbolised in what happens when Pandora defies the instruction not to open her mysterious sealed ‘vase’ or vessel. This is not just another image for humanity breaking loose from the confines of nature. It unleashes into the world a range of wholly new troubles, from envy and lust to hatred and war. And all these are by-products of the emergence of the human ego. It is precisely this sense of having a separate ego-centred existence which cuts human beings off from each other, potentially setting them at odds with each other and with nature itself, to a degree which marks them out from any other species. When Prometheus steals ‘fire’ from the gods, what he is really stealing is that divine spark of consciousness which distinguishes humanity from all those other forms of life which live in unconscious thrall to instinct. Yet for all the new freedom this gives, there is a terrible price to be paid, symbolised in the image of Prometheus stretched out in agony on that Caucasian rock, having his liver eaten away every day by the insatiable eagle. It is the state of perpetual nagging discontent which must follow from that most crucial of all the new faculties that ego-consciouness brings with it: the ability to imagine that things might be different from what they are.
自我与无意识
Ego versus the unconscious
“意识”这个词常常被过于宽松地使用，就好像只有人类是有意识的，而所有其他生命形式都完全无意识地生活着。当然，所有动物都在某种程度上拥有意识，甚至连最卑微的阿米巴原虫都表现出对其追踪并食用的食物颗粒的意识。在进化阶梯的更高层，例如海豚或黑猩猩所表现出的有意识的智力程度是巨大的。同样，我们在进化阶梯上看得越高，我们就越能看到动物呈现出自己的个性，因此黑猩猩群体中的个体成员之间的区别比一群鲱鱼更明显。区别在于动物心灵的意识部分在多大程度上 它感知和理解世界的前景，自动地与其心灵的更大部分保持和谐，这部分在有意识的意识水平之下运作，并受所有本能框架的控制。在这方面，即使是具有最大程度意识的动物物种仍然完全本能地运作。因为他们这样做的方式使他们心灵的无意识和有意识部分保持完全整合，并继续彼此完美地协调运作。即使是具有最大程度意识的动物物种仍然完全本能地运作。因为他们这样做的方式使他们心灵的无意识和有意识部分保持完全整合，并继续彼此完美地协调运作。即使是具有最大程度意识的动物物种仍然完全本能地运作。因为他们这样做的方式使他们心灵的无意识和有意识部分保持完全整合，并继续彼此完美地协调运作。
The term ‘consciousness’ is often used too loosely, as if only man is conscious and all other forms of life live wholly unconsciously. All animals of course possess consciousness to some degree, right down to the humblest amoeba which shows consciousness of the particle of food it tracks down to eat. Higher up the evolutionary ladder, the degree of conscious intelligence shown by, say, dolphins or chimpanzees is enormous. Similarly, the higher we look up the evolutionary ladder, the more we see animals taking on their own individual personality, so that the individual members of a troop of chimpanzees are much more clearly differentiated from each other than, say, a shoal of herrings. Where the distinction lies is in the degree to which the conscious part of any animal’s mind, the foreground from which it is perceiving and making sense of the world, remains automatically in harmony with that much larger part of its mind which operates below the level of conscious awareness, and which is governed by all the framework of instinct. In this respect, even the animal species which have the greatest degree of consciousness still operate entirely instinctively; because they do so in such a way that the unconscious and conscious parts of their minds remain wholly integrated and continue to function in perfect accord with each other.
但如果动物度过一生、组织社会系统以及配对繁衍同类的方式都是由本能决定的，那么从最广泛的意义上来说，智人也是如此。人类的历史表明，人类像其他物种一样，形成了社会，繁衍生息，一代又一代地保存着生命链。然而，在人类社会中，不稳定的因素已经悄然出现。人类社会并不是由一成不变的秩序框架所统治。它们处于永恒的变化之中。人类并不是按照严格不变的模式和法则来获取食物、建造住宅、安排与自然其他部分的关系。他们有权力做出选择。支配他们生活的模式发生了变化。最重要的是，社会的每一个组成部分，无论是组成社会的每个个体，还是其中的每个集体群体，每个家庭、社区、阶级、世代、国家和种族，都意识到自己的身份，与社会分离。休息。
But if the way an animal spends its life, organises its social system and pairs off to reproduce its kind is all dictated by instinct, then, in the broadest sense, the same is true for Homo sapiens. The history of mankind shows that he has formed societies, propagated his kind, preserved the chain of life from generation to generation, just like any other species. However, in human societies as in no other, an element of instability has crept in. Human societies are not governed by an unchanging framework of order. They are in perpetual flux. Men do not obtain their food, build their dwellings, order their relationship with the rest of nature according to strict unchanging patterns and laws. They have the power to make choices. The patterns governing their lives change. Above all, every component part of their society, whether it be each individual human being making it up or each collective group within it, each family, community, class, generation, nation and race, becomes conscious of its own identity, separate from the rest.
为了更清楚地理解这是如何运作的，需要对人与动物之间的区别进行更精确的定义。每种动物都具有两套互补的本能。一方面，每只动物都有其身体本能，例如对吃、喝、呼吸和睡眠的需要，以及对性释放的渴望。因为这些只与它自身有关，就像保护自己生命的冲动一样，它们可以被描述为它的“自我”本能。另一方面，为其存在提供控制框架的是它的“秩序”本能。这些是基因编码的指令，使个体动物能够以各种方式与其周围的世界建立联系。他们告诉它如何获取食物，如何形成自我保护的社会群体，如何与伙伴配对繁殖，如何照顾幼崽直到它们自己准备好交配，等等。从这两种互补的本能的结合中，我们可以得出这样的结论：任何生命形式的首要目的与其说是为了个体生存，不如说是为了保护自己的物种。而在动物王国中，这两种形式的本能是不可分割地结合在一起的。但正是在这里，人类身上出现了部分分离。他们个人的身体本能仍然像动物一样自动。但他们的排序本能的控制框架在某种程度上已经崩溃了。正是在这种分离中，我们才能发现人性中独特的瓦解因素。从这两种互补的本能的结合中，我们可以得出这样的结论：任何生命形式的首要目的与其说是为了个体生存，不如说是为了保护自己的物种。而在动物王国中，这两种形式的本能是不可分割地结合在一起的。但正是在这里，人类身上出现了部分分离。他们个人的身体本能仍然像动物一样自动。但他们的排序本能的控制框架在某种程度上已经崩溃了。正是在这种分离中，我们才能发现人性中独特的瓦解因素。从这两种互补的本能的结合中，我们可以得出这样的结论：任何生命形式的首要目的与其说是为了个体生存，不如说是为了保护自己的物种。而在动物王国中，这两种形式的本能是不可分割地结合在一起的。但正是在这里，人类身上出现了部分分离。他们个人的身体本能仍然像动物一样自动。但他们的排序本能的控制框架在某种程度上已经崩溃了。正是在这种分离中，我们才能发现人性中独特的瓦解因素。但正是在这里，人类身上出现了部分分离。他们个人的身体本能仍然像动物一样自动。但他们的排序本能的控制框架在某种程度上已经崩溃了。正是在这种分离中，我们才能发现人性中独特的瓦解因素。但正是在这里，人类身上出现了部分分离。他们个人的身体本能仍然像动物一样自动。但他们的排序本能的控制框架在某种程度上已经崩溃了。正是在这种分离中，我们才能发现人性中独特的瓦解因素。
To understand more clearly how this works requires more a precise definition of just where the difference between men and animals lies. Every animal has what may broadly be described as two complementary sets of instincts. On one hand each individual animal has its physical instincts, such as its need to eat, drink, breathe and sleep, its urge for sexual release. Because these relate only to itself, like the urge to preserve its own life, they can be described as its ‘ego’ instincts. On the other hand, providing the controlling framework for its existence, are its ‘ordering’ instincts. These are the genetically coded instructions which enable the individual animal in every way to relate to the world around it. They tell it how to obtain its food, how to form social groups for self-protection, how to pair off with partners to reproduce, how to tend its young until they themselves are ready to mate, and so forth. From the marriage of these two complementary sets of instincts we may conclude that the overriding purpose in any form of life is not so much to survive individually as to preserve its own species. And in the animal kingdom, these two forms of instinct are inseparably integrated. But it is here that in human beings a partial separation has arisen. Their individual physical instincts remain just as automatic as those of the animals. But the controlling framework of their ordering instincts has in some way broken adrift. It is in this separation that the unique element of disintegration in human nature is to be found.
就我们的身体需求而言，我们和其他生物一样具有本能。区别在于我们如何寻求满足这些需求。当狮子感到饥饿时，它只知道一种方法来满足这种渴望，那就是找到合适的猎物，追踪它并杀死它。整个狩猎过程，从最初对食物的渴望到获得食物的方法，每一步都继续受本能的支配。当人类需要满足饥饿时，到目前为止，他们已经摆脱了自然状态，发展出了一系列不同的方式来获取食物，从在地里播种种子并等待成熟为小麦，到拜访超市买了一只用塑料袋冷冻的鸡。当乌鸫感受到筑巢庇护幼鸟的冲动时，这个过程是本能地驱动的，以至于所有乌鸫的巢看起来都大同小异，都是按照相同的模型建造的。当人们建造一个庇护所来保护自己免受风吹雨打时，结果可能是一座泥屋或一座 30 层的塔楼、一座冰屋或凡尔赛宫。
In terms of our physical needs we are just as instinctive as any other creature. The difference lies in how we seek to fulfil those needs. When a lion feels hungry, it knows only one way to satisfy that urge, which is to identify some suitable prey, track it down and kill it. The whole hunting process, from the original desire for food to the method whereby it is obtained, continues to be governed by instinct at every step. When human beings need to satisfy their hunger, so far have they emerged from the state of nature that they have developed a whole range of different ways to obtain their food, from planting seeds in the ground and waiting until they ripen into wheat to visiting a supermarket to buy a chicken frozen in a plastic bag. When a blackbird feels the urge to build a nest to shelter its young, the process is so instinctively driven that all blackbirds’ nests look much the same, constructed to the same model. When men build a shelter to protect them from the elements, the results may be a mud hut or a 30-storey tower block, an igloo or the Palace of Versailles.
因此，人与动物之间的区别不在于我们的身体本能，而在于我们安排与外部世界的关系的所有方式。在建立社会组织方面，动物别无选择。无论是在蚁群中还是在大象群中，它们为了促进共同目标而相互联系的方式必须始终遵循相同的模式。当人类形成社区、社会、部落或国家时，它们的结构方式就变得无限灵活。他们的社会团体可以采取各种令人眼花缭乱的形式，从极权独裁到当地的高尔夫俱乐部。确实，对于处于进化规模高端的动物物种，例如狒狒、狮子甚至鸡，个体之间可能会为了在群体内建立主导地位而进行持续的斗争。但这种竞争的模式，以及它所发生的社会结构的一般形式，仍然严格地由本能决定，服务于群体的生存。同样，当同一物种的鸟类争夺领地时，它们可能会表现出对彼此的仪式化攻击；但在这个过程的最后，一只知更鸟的领地总是与另一只知更鸟的领地大小相同。所有这些竞争表演都严格按照遗传指令决定了每只鸟最终如何控制一块足以满足其家庭需要的土地。但当人类划分居住空间时，一个家庭可能最终拥有一百万英亩土地，而另一个家庭则只剩下拥挤的贫民窟的一个房间的一角。
The difference between men and animals thus lies not in our physical instincts but in all the ways we order our relationship to the world outside us. When it comes to forming social organisations, animals have no choice. The way they relate to each other to promote their common purpose, whether in an ant colony or a herd of elephants, must always follow the same model. When human beings form communities, societies, tribes or nations, the way these are structured becomes infinitely more flexible. Their social groupings can take on a bewildering variety of forms, from a totalitarian dictatorship to a local golf club. It is true that with animal species at the higher end of the evolutionary scale, such as baboons or lions or even chickens, there may be a continual struggle between individuals to establish dominance within the group. But the patterns of this rivalry, and the general form of the social structure in which it takes place, remain strictly dictated by instinct, serving the survival of the group. Similarly, when birds of the same species compete for territory, they may display ritualised aggression towards each other; but at the end of the process, one robin’s territory invariably turns out to be much the same size as the next. All this show of competition has determined, in strict accordance with genetic instructions, is how each bird may end up controlling a patch of land just large enough to supply the needs of its family. But when human beings divide up their living space, one family may end up owning a million acres while another has no more than the corner of a room in an overcrowded slum. Instinct no longer plays a part in dictating the pattern of such arrangements, because human behaviour has, in this respect, broken free from the genetic mould.
但当然，这种漂流还远非完全。这就是问题的关键。因为在某种程度上，人类试图坚持自己的基本本能模式，就好像没有发生与自然的分离一样，而仅凭其生存的历史证据就必须将其视为其身份的核心。在这个层面上，人类的行为一直和其他动物一样，仿佛他们存在的最高目的就是延续生命的链条。它们最重要的本能是繁衍自己的物种，为此它们形成了相互支持的社会社区，在这个社区中，每一代的雄性和雌性都有安全感，配对形成新的家庭，交配，然后抚养他们的孩子，直到他们也长大到可以轮流繁殖的地步。
But of course this breaking adrift is far from total. And here is the crux of the matter. For on one level, and with what must, on the historical evidence of their survival alone, be regarded as the core of their identity, human beings attempt to adhere to their basic instinctive pattern as if no separation from nature had taken place. At this level human beings have always behaved just like any other animal, as if the supreme purpose of their existence is to carry on the chain of life. Their overriding instinct is to reproduce their species, to which end they form mutually supportive social communities, within which males and females of each new generation have the security to pair off to form new families, to mate and then to nurture their children, until they too grow up to the point where they are ready to reproduce in turn. All this is structured into the unconscious of human beings just as instinctively as it is programmed into any other animal.
但随之而来的是他们心理构成中的其他成分不断地迫使他们远离这种统一的目标。正是这一点解释了为什么我们看到人类，无论是个人还是集体，如何成为各种瓦解冲动的牺牲品：贪婪、嫉妒、欲望、坏脾气、仇恨、残忍、暴力、家庭破裂、孤独、抑郁、精神错乱、犯罪、社会不公正、政治分歧、革命、战争；简而言之，所有这些人类特有的问题，正如希腊神话所说，都是随着潘多拉“盒子”的打开而释放到世界上的。所有这些都以某种方式源于自我意识将人类彼此分离并与自然分离的独特力量，以及自我与更深层次的无意识之间的自然整合状态的崩溃。
But then there intrudes that other component in their psychic make-up which is continually urging them away from this unity of purpose. It is this which explains why, to a degree not remotely experienced by any other animals, we see how human beings, individually and collectively, fall prey to every kind of disintegrative impulse: greed, envy, lust, bad temper, hatred, cruelty, violence, the breaking up of families, loneliness, depression, insanity, crime, social injustice, political divisions, revolutions, wars; in short, all those peculiarly human problems which, as the Greek myth had it, were released into the world by the opening of Pandora’s ‘box’. And all these in one way or another follow from the unique power of ego-consciousness to separate human beings from each other and from nature, and from the breaking down of that natural state of integration between their ego and their deeper unconscious.
在这两种心理上相互冲突的力量之间，人类生活在一种持续紧张的状态中。在最深层次上，他们最想要的就是重建心灵两部分之间失去的统一：彼此、与自然、与自己和平相处。但要做到这一点，他们必须持续不断地、有意识地努力。为了帮助他们实现这一目标，他们发展了一系列的手段、机制和仪式：从法律和政治制度到道德准则；从各种艺术表现形式到宗教框架。人类意识的所有这些创造的共同之处在于，它们都源于一种愿望，即巩固或重建每种动物终其一生无需思考即可享受的团结感。
Between these two conflicting forces in their psyche, human beings live their lives in a state of constant tension. At the deepest level there is nothing they want more than to re-establish the lost unity between the two parts of their psyche: to live at peace with each other, with nature and with themselves. But to do this they have to make a continual, conscious effort. To assist them in that effort they have evolved a whole array of devices, mechanisms and rituals: from laws and political institutions to codes of morality; from every kind of artistic expression to the framework of religion. What all these creations of human consciousness have in common is that they all originate in a desire to underpin or to re-establish that sense of unity which every animal enjoys without thinking all its life long.
生命与秩序
Life and order
值得注意的是，人类区别于所有其他动物的许多行为形式都包括为某些活动创建一个有意识的框架，而在其他物种的生活中，这些活动完全是本能的。
It is remarkable how many of the forms of behaviour which distinguish human beings from all other animals consist of creating a consciously-contrived framework for some activity which in the life of every other species is wholly instinctive.
一个明显的例子是人类必须有意识地努力将自己组织成社会群体。动物的群体聚集方式完全是由本能决定的。每个狒狒群体或蚁群都根据物种的基本模型进行分层结构，以占主导地位的雄性或蚁后为首。群体中的每个成员都本能地意识到自己作为一个比自身更伟大的集体有机体的组成部分的角色，因为它没有个人意识去想象其他的情况。在很大程度上，人类的对应物也是本能的。所有人类都属于家庭、社区、部落或国家，这些为他们提供了身份感的核心部分。他们的社会群体结构自然是等级森严的，以或多或少成功地扮演“父亲”、“母亲”或“儿子英雄”原型角色的领导者为中心。但除了本能的核心智人与其他动物有共同之处，每个人类群体在基本主题上发展出自己的变体：其自己的组织形式、等级制度和领导力。为了维护群体秩序，防止因自私而产生的破坏性倾向，有必要有意识地制定详细的社会行为准则，并制定法律框架和惩罚措施来执行这些准则。
An obvious example is the conscious effort human beings have to make to organise themselves into social groups. The way animals group together is governed entirely by instinct. Every baboon troop or ant colony is hierarchically structured according to the basic model of the species, with a dominant male or queen at its head. Each member of the group is instinctively aware of its role as an integral part of a collective organism much greater than itself, because it has not got the individual consciousness to imagine otherwise. And to a great extent the human counterpart to this is also instinctive. All human beings belong to families, communities, tribes or nations which provide them with a central part of their sense of identity. The structure of their social groups is naturally hierarchical, centred on a leader-figure cast more or less successfully in the archetypal role of ‘Father’, ‘Mother’ or ‘Son-Hero’. But beyond that instinctive core which Homo sapiens shares in common with other animals, each human grouping develops its own variations on the basic theme: its own individual forms of organisation, hierarchy and leadership. And to preserve the order of the group against all the disruptive tendencies arising from egotism, it becomes necessary by conscious effort to create elaborate codes of social behaviour, with a framework of laws and punishments to enforce them.
同样，当个体动物在其一生中成熟时，它会很自然地经历每个阶段。只有人类社会必须为这一过程形成一个有意识的框架，从儿童教育的正式结构到伴随这一过程中每一个新步骤的仪式和仪式，例如那些标志着出生、进入成年、结婚和最后的仪式。死亡。所有这些仪式的根本目的是使人类的有意识的生活（被自我的所有琐碎干扰所占据）重新与根植于生命整体的本能、无意识的核心和谐一致：将它们与对某种比他们自己的个体存在更深刻、更普遍的东西的感觉。
Again, as an individual animal matures through its life, it develops through each stage quite naturally. Only human societies have had to evolve a conscious framework for this process, from the formal structures of a child’s education to the rites and ceremonies which attend each new step along the way, such as those marking birth, initiation into adulthood, marriage, and finally death. The underlying purpose of all these rituals is to bring the conscious life of human beings, taken up with all the trivial distractions of the ego, back into harmony with that instinctive, unconscious core which is rooted in the totality of life: reconnecting them with a sense of something deeper and more universal than just their own individual existence.
解决这种心理分裂的需要引发了人类行为的其他独特特征，而动物界却无法提供真正的相似之处。人类升华自我中心倾向的一种显着方式是通过对游戏和运动的热爱。团队和个人之间的竞争不仅为竞争冲动提供了社会可接受的渠道，否则这些竞争冲动可能会造成社会破坏。通过在严格的规则框架内约束身体或心理活动，游戏或运动的参与者就会服从于比自己更高的东西。所有体育活动的心理模型是禅宗射箭的精神纪律，其中弓箭手的目的是消除因自我而产生的扭曲，使箭自然地飞向目标。每当一场比赛打得好时，就会产生身体和心灵本能地协调的时刻，以至于球员们似乎已经超越了自己。这就是为什么最初的奥运会在被腐化之前一直是古希腊世界的中心宗教仪式之一。参赛者的技巧表达了一种完美的理想，这不仅提高了运动员本身，而且提高了所有观看比赛的人。某种同样的超越感，尽管同样容易被自我腐蚀，却解释了我们现代世界体育的非凡魅力。最初的奥运会是古希腊世界的中心宗教仪式之一。参赛者的技巧表达了一种完美的理想，这不仅提高了运动员本身，而且提高了所有观看比赛的人。某种同样的超越感，尽管同样容易被自我腐蚀，却解释了我们现代世界体育的非凡魅力。最初的奥运会是古希腊世界的中心宗教仪式之一。参赛者的技巧表达了一种完美的理想，这不仅提高了运动员本身，而且提高了所有观看比赛的人。某种同样的超越感，尽管同样容易被自我腐蚀，却解释了我们现代世界体育的非凡魅力。
The need to resolve this psychic split gives rise to other distinctive features of human behaviour for which the animal kingdom offers no real parallels. One conspicuous means whereby human beings sublimate their tendency to egocentricity is through their love of games and sport. Not only does the rivalry between teams and individuals provide a socially acceptable channel for competitive impulses which might otherwise become socially disruptive. By disciplining physical or mental activity within a strict framework of rules, the participants in a game or sport become subordinated to something higher than themselves. A psychological model for all sporting activity is the spiritual discipline of Zen archery, in which the archer’s purpose is so to eliminate the distortions arising from his own ego that the arrow naturally flies to its target. Whenever a game is played well it produces those moments when body and mind come into such instinctive co-ordination that the players seem to have been lifted above themselves. This was why, until it became corrupted, the original Olympic Games were one of the central religious ceremonies of the ancient Greek world. The skill of the competitors expressed an ideal of perfection which elevated not only the athletes themselves but all those who watched them. Something of the same sense of transcendence, although it is similarly open to corruption by the ego, accounts for the extraordinary glamour which surrounds sport in our modern world.
人类如何表达这种超越自我存在限制的冲动的一个更重要的例子是通过各种艺术表达。所有艺术的根本目的是创造图像模式，以某种方式传达一种秩序框架中的生活感。从音乐到绘画，从建筑到诗歌，从一件做工精细的珠宝到纪律严明的民间舞蹈，任何有效的艺术作品总是结合这两个元素：一方面，运动的意象、活力、想象力和我们将颜色与生命能量联系在一起；另一方面，它所构成的模式、节奏和和谐感。无论其外在形式如何，任何艺术创作的目的都是将这些基本元素编织在一起，从而给我们一种完美的解决感。因此，任何艺术作品都试图在我们所认为的男性和女性心理的互补方面之间建立一种婚姻。分析贝多芬交响曲的吸引力，我们就会看到它是如何由熟悉的力量与思想、心灵与灵魂的四重组合组成的。音乐以其阳刚的力量吸引了我们的注意力。它以其形式上的微妙结构吸引着我们的智力。它以其女性般的优雅和精致、流动的生命力以及对我们情感的吸引力而打动我们。它通过唤起超越我们自身的东西来提升我们，一种完美的整体感。像所有伟大的艺术一样，它因此将意识与超越自我的自我协调起来。
An even more significant instance of how human beings express this urge to transcend the limitations of their ego-existence is through every kind of artistic expression. The underlying purpose of all art is to create patterns of imagery which somehow convey a sense of life set in a framework of order. From music to painting, from architecture to poetry, from a finely worked piece of jewellery to the disciplined exuberance of folk-dance, any effective work of art always combines these two elements: on one hand, the imagery of movement, vitality, imagination and colour we associate with the energy of life; on the other, that sense of pattern, rhythm and harmony by which it is structured. Whatever its outward form, the aim of any artistic creation is to weave these essential elements together in a way which gives us a sense of a perfect resolution. Any work of art thus seeks to create a marriage between those complementary aspects of the psyche we see as masculine and feminine. Analyse the appeal of a Beethoven symphony and we see how it is made up of that familiar fourfold combination of strength and mind, heart and soul. The music commands our attention by its masculine power. It appeals to our intellect by the formal subtleties of its structure. It moves us by its feminine grace and delicacy, its flowing life, its appeal to our feelings. It elevates us by evoking something beyond ourselves, a sense of perfect totality. Like all great art it thus harmonises consciousness with the ego-transcending Self.
任何艺术作品都可以按照类似的思路进行分析，即使只是从它如何达不到这种完美平衡的角度来分析。每当我们感觉到任何艺术创作在某种程度上存在缺陷时，要么是因为它缺乏生命力，要么是因为它组织不充分，或者两者兼而有之。然而，任何成功的艺术作品都可以通过超越我们自我限制的完美感将我们联系起来，让我们感到神秘地更有活力。这就是人类的艺术冲动。但是，没有任何方法可以重建与我们内心生活的统一感。它比进化过程本身编码给我们的能力更巧妙：我们有能力在头脑中召唤出我们称之为故事的想象事件模式。3
Any work of art can be analysed along similar lines, even if only in terms of how it may fall short of such perfect balance. Whenever we sense any artistic creation to be in some way deficient, this is either because it somehow lacks life or because it is inadequately organised, or both. Any work of art which succeeds, however, can make us feel mysteriously more alive, by connecting us with the sense of a perfection beyond the limitations of our own ego. Such is what the artistic impulse in mankind is all about. But no device for re-establishing that sense of unity with our inner life is more ingenious than one coded into us by the process of evolution itself: our ability to conjure up inside our heads those patterns of imaginary events we call stories.3
原型：有目的的图片
Archetypes: Pictures with a purpose
这个星球上生命的进化创造了无数的奇迹，从眼睛的复杂结构到更复杂的人脑。但最引人注目的莫过于人类在头脑中看到有组织的图片序列的能力。然而，更值得注意的是这种能力发展的根本目的。
The evolution of life on this planet has produced countless miracles, from the complex structure of the eye to the even greater complexities of the human brain. But none is more remarkable than this ability of human beings to see organised sequences of pictures in their heads. Even more remarkable, however, is the underlying purpose for which this faculty has evolved.
正如我们所看到的，我们想象故事的能力的真正意义在于它们在多大程度上从讲故事者的意识之外的心灵某些部分浮现出来。因此，在很大程度上，故事是一种以无意识为中心的控制力的产物。它们遵循如此可识别的模式并由如此一致的规则塑造，这一事实表明无意识因此将它们用于一个目的：向我们心灵的意识层面传达人性及其运作方式的特定画面。
The real significance of our capacity to imagine stories, as we have seen, lies in the extent to which they emerge from some part of the mind which is beyond the storyteller’s conscious awareness. To a great degree stories are thus the product of a controlling power which is centred in the unconscious. The very fact that they follow such identifiable patterns and are shaped by such consistent rules indicates that the unconscious is thus using them for a purpose: to convey to the conscious level of our mind a particular picture of human nature and how it works.
我们当然熟悉这样的观点，即我们无意识的某些部分具有向我们的意识传递信息的自主能力，因为对于弗洛伊德和荣格来说，这正是他们关于我们为什么做梦的理论的核心。他们认为，我们的梦可以向我们揭示意识阈值以下的心理活动。然而，令人好奇的是，这两位精神分析学家在开拓我们对无意识的理解方面所做的开创性工作有多少集中在他们对梦的研究上，而他们却没有认识到，通过分析梦可以得出多少更系统的梦运作图景。我们想象故事的过程。
We are of course familiar with the idea that some part of our unconscious has the autonomous power to transmit messages to our consciousness, because it was this which for Freud and Jung lay at the heart of their theorising about why we dream. Our dreams, they suggested, can reveal to us much of what is going on in our psyche below the threshold of consciousness. Nevertheless, it is curious how much of the pioneering work of these two psychoanalysts in opening up our understanding of the unconscious was centred on their study of dreams, without their recognising just how much more systematic a picture of its workings can be derived from analysing the process whereby we imagine stories.
然而，荣格在这个方向上比弗洛伊德走得更远，首先是看到我们的意识存在有多少是由原型塑造的：那些内置于我们无意识中的影子元素结构，它们决定了我们对世界的情感和行为反应，而没有我们意识到这一点。这是他对我们理解无意识的核心贡献，是二十世纪最伟大的直觉发现之一，与爱因斯坦和其他核物理学家，或沃森和克里克的双螺旋并列。
Jung, however, went much further in this direction than Freud, above all in seeing how much of our conscious existence is shaped by archetypes: those shadowy elemental structures built into our unconscious which condition so much of our emotional and behavioural response to the world without our being aware of it. This, his central contribution to our understanding of the unconscious, was one of the greatest intuitive discoveries of the twentieth century, ranking alongside those of Einstein and other nuclear physicists, or Watson and Crick’s double helix.
关于原型的要点在于，它们构成了人类意识从我们对本能的无意识服从中分离出来的过程中的重要遗产。主要原型——母亲、父亲、阿尼姆斯和阿尼玛、儿童——代表了人类在中心本能过程中可以扮演的所有最基本的角色，通过这个过程，物种的生命得以延续，当这个过程按照与本能的模式。但除此之外，每个原型都是双面的。它不仅包含了如何根据本能无私地履行该角色的积极形象，而且还包含了其消极的一面，反映了自我的干预如何阻止其正确履行。
The point about the archetypes is that they constitute a crucial legacy from that process whereby human consciousness split off from our unconscious obedience to instinct. The chief archetypes – Mother, Father, animus and anima, Child – represent all the most basic roles that human beings can be called on to play in that central instinctive process whereby the life of the species is continued, when this is acted out in accordance with the instinctive pattern. But in addition each archetype is two-sided. It contains not only a positive image of how that role should be carried out selflessly in accordance with instinct, but also its negative aspect, reflecting how the intervention of the ego may prevent it being carried out properly.
例如，我们都被编程为围绕着我们一生中最基本的关系，即与“母亲”的一系列原型冲动。当一个孩子降生到这个世界上时，“母亲”原型被编入其无意识中，导致他本能地与一个母亲形象联系在一起（她甚至可能不是生物学上真正的母亲）。同样，当女性准备生孩子时，“母亲”原型就会被激活，激发我们在自然界中任何母性动物中看到的所有那些充满爱心、保护性、务实、无私的母性本能。当我们看到图片或故事中呈现的母亲形象时，我们可以立即对其所代表的原型做出反应，就像我们认识到她是一位“黑暗母亲”时一样。在这种情况下，自我介入了，
We are all programmed, for instance, with the set of archetypal impulses surrounding the most basic relationship in all our lives, that with ‘Mother’. When a child is born into the world, it is the ‘Mother’ archetype programmed into its unconscious which leads it instinctively to bond with one single mother-figure (who may not even be biologically its actual mother). Similarly it is the ‘Mother’ archetype which is activated in a woman as she prepares to give birth to her child, arousing all those loving, protective, practical, selfless maternal instincts which we see in any mother animal in nature. When we see the image of a mother presented in a picture or a story, we can immediately respond to the archetype it represents, just as we can when we recognise that she is a ‘Dark Mother’. In this case the ego has intervened, and her role has become not to promote the child’s development but in some way to stifle it and hold it back.
同样，我们本能地对“父亲”的原型做出反应（如圣诞老人的形象），认识到他的角色是外表坚强和阳刚，但内心对女性开放，作为一个仁慈、保护和理解受压迫者的人。他的照顾。我们可以在任何处于权威地位的老年人身上看到“父亲”原型的化身。除了我们可能会再次将他视为以自我为中心的“黑暗父亲”，因为缺乏更柔和的女性价值观，他已经成为一个无情的暴君。如果他的缺陷是相反的，即缺乏男子气概，那么他就会表现出一个不成熟的永恒少年，软弱且不负责任。
Likewise we instinctively respond to the archetype of ‘Father’ (as in the image of Father Christmas), recognising that his role is to be outwardly strong and masculine, but inwardly open to the feminine, as someone kindly, protective and understanding of those under his care. We can see the ‘Father’ archetype personified in any older man who is in a position of authority; except that again we may see him as the egocentric ‘Dark Father’ when, lacking the softer feminine values, he has become a heartless Tyrant. If his deficiency is the other way, in that he lacks masculinity, he shows himself as an immature puer aeternus, weak and irresponsible.
对于男人来说，没有什么原型比阿尼玛更强大，阿尼玛是他心灵中体现女性特质的自主元素。他与阿尼玛的关系决定了他对异性的反应，以及其他许多事情。对于女性来说，相当于她与阿尼姆斯的关系，代表她心灵中的男性元素。同样，这不仅决定了她对男人的反应，还决定了她性格的整个内部平衡。
For a man no archetype is more powerful than that of the anima, that autonomous element in his psyche embodying the qualities of the feminine. His relationship with the anima is that which determines his responses to the opposite sex, and much else besides. For a woman the equivalent is her relationship to the animus, representing the masculine element in her psyche. Again this determines not just her response to men but also the entire internal balance of her personality.
作为整个本能过程的生物学目标的表达，我们看到了我们对“孩子”原型的反应的力量。这引起我们身上所有这些无私的情感不仅可以由我们自己的后代触发，而且可以由几乎任何类型的年轻人触发。
As an expression of what is the biological goal of the whole instinctive process, we see the power of our response to the archetype of the ‘Child’. This arouses in us all those selfless emotions which can be triggered off not only by our own offspring, but by the young of almost any kind.
然而，作为我们重新整合分裂本性的愿望的表达，在人类心理中，没有什么原型比自我扮演着更至关重要的角色。正是这一点代表了我们从与创造的无意识统一状态中走出来时失去的整体感。正是这个原型包含了所有其他原型。我们看到它在故事（或任何艺术作品）的冲动中发挥着作用，以达到完美的结局；当我们以大大小小的方式感觉到我们的行为是从我们人格中超出我们自我的另一个“中心”产生时，它就支配着所有人类行为。
As an expression of our wish to reintegrate our divided nature, however, no archetype plays a more crucially important role in human psychology than that of the Self. It is this which represents the sense of totality we have lost through our emergence from the state of unconscious unity with creation. It is this archetype which encompasses all the others; which we see at work in the impulse of a story (or any work of art) to come to a perfect resolution; and which governs all human behaviour when, in ways large and small, we sense that our actions are springing from another ‘centre’ in our personality beyond that of our own ego.
荣格通过对梦和神话的研究，发现了人类心灵中的所有这些原型力量。因此，他能够展示的是，当我们做梦时，我们头脑中看到的图像如何以象征形式代表了我们无意识中的原型元素，为我们的内心状态举起了一面独特的镜子。但就连他也没有完全意识到，这也同样适用于我们想象故事的整个过程。事实上，塑造故事的原型模式为我们提供了比我们从梦中获得的更加结构化的人类无意识组成部分的图景。它们向我们展示了所有原型如何作为动态过程的一部分组合在一起。当我们学会如何解读它们的重要性时，我们开始看到它如何使用故事，最终传达一个中心信息，
All these archetypal powers in the human psyche were identified by Jung, from his studies of dreams and myths. What he was thus able to show was how the pictures we see in our heads when we dream represent in symbolic form the archetypal elements in our unconscious, holding up a unique mirror to our inner state. But what even he failed fully to appreciate was just how profoundly this also applies to the whole of the process whereby we imagine stories. In fact the archetypal patterns which shape stories provide us with a much more structured picture of the components of the human unconscious than we can derive from dreams. They show us how all the archetypes fit together as part of a dynamic process. And when we learn how to decipher their significance, we begin to see we how it uses stories, ultimately, to put over one central message, the essence of which can be summarised as follows:
1.黑暗与光明
1. Dark and light
关于我们在故事中看到的角色，我们首先要学会认识的事情之一就是“好人”和“坏人”、英雄和恶棍之间熟悉的区别。这种划分的原因在于，它以象征的形式向我们呈现了人性中因自我意识与无私无意识的分离而造成的分裂。无意识用来象征这种分裂的主要手段是用“黑暗”与“光明”之间的中心冲突来表示它。
One of the first things we all learn to recognise about the characters we see in stories is that familiar distinction between ‘goodies’ and ‘baddies’, heroes and villains. The reason for this division is that it presents to us in symbolic form the split caused in human nature by the separation of ego-consciousness from the selfless unconscious. The chief device the unconscious uses to symbolise this split is by representing it in terms of that central conflict between ‘dark’ and ‘light’.
正如我们所看到的，故事中的“黑暗力量”代表了自我的力量，在“怪物”的原型中得到了最鲜明的体现。这就像人性的象征性讽刺画，当人性因利己主义而变形时，如果人性仍然与自然合而为一，它就会拥有完整的状态。因此，“怪物”常常被视为动物和人类特征的结合。它的动物元素代表了它无意识的本能自我。在其有意识的人类元素的贪婪、残忍和狡猾中，它是扭曲的和不完美的。4
The ‘dark power’ in stories, as we have seen, represents the power of the ego, most starkly personified in the archetype of the ‘monster’; which is like a symbolic caricature of human nature when deformed by egotism from the state of wholeness it would possess if it was still at one with nature. Hence the way in which the ‘monster’ is so often seen as a combination of animal and human characteristics. Its animal element represents its unconscious instinctive self. In the greed, cruelty and cunning of its conscious human element, it is twisted and imperfect.4
这个不完整的生物非常强大，只关心追求自己的利益，不惜牺牲世界上其他人的利益。通过展示“怪物”给整个社区投下阴影，无意识将其自我主义描绘成人类必须面对的最威胁生命的敌人。
This incomplete creature is immensely powerful and concerned solely with pursuing its own interests, at the expense of everyone else in the world. By showing the ‘monster’ as casting a shadow over a whole community, the unconscious portrays its egotism as the most life-threatening enemy the human race has to face.
然而，我们随后会看到，在所有其他类型的故事中，“黑暗”人物也表现出本质上相同的心理特征。故事的首要目的是向我们展示这种自我中心力量的本质以及它对人类的影响。自然地，由于它是无情的利己主义，它将利己主义者与他周围的每个人隔离开来（除了那些自己的利己主义在某种程度上与他的利己主义结盟的人）。但同样重要的是，我们看到自我中心的不可避免的后果是它限制和扭曲了感知。从定义上来说，通过自我看世界的人无法客观地看待世界。他或她与现实隔绝了。只看到自我希望看到的东西，他们陷入了迷惑的状态。但因为这样的幻想状态无法与现实解决，这会导致自我产生一种无意识的倾向，提高其要求，呈现出我们所看到的“幻想螺旋”的自我毁灭模式。自我主义者被进一步推向不现实。正如我们在所有不同形式的悲剧中最明显地看到的那样，这使他与周围的世界越来越不一致，直到最终他可能以一种可能致命的方式与现实发生冲突。
We then, however, see how the ‘dark’ figures in every other kind of story also display essentially the same psychological characteristics. The first concern of stories is to show us the nature of this power of egocentricity and what it does to human beings. Naturally, since it is heartlessly self-seeking, it isolates the egotist from everyone around him (except those whose own egotism becomes in some way allied to his). But, equally significantly, we see how an inevitable consequence of egocentricity is that it limits and distorts perception. Someone seeing the world through the ego cannot by definition see objectively. He or she becomes cut off from reality. Seeing only what the ego wishes to see, they fall into a state of delusion. But because such a fantasy-state cannot achieve resolution with reality, this creates an unconscious tendency for the ego to step up its demands, taking on the self-destructive pattern we have seen as the ‘fantasy spiral’. The egotist is driven ever further into unreality. As we see most obviously mirrored in all the different forms of Tragedy, this puts him increasingly at odds with the world around him, until eventually he is likely to collide with reality in a way which is potentially fatal.
2.男性和女性
2. Masculine and feminine
相比之下，故事则关注于展示对抗人类自我的扭曲力量所必需的东西。自我中心的影响在于它瓦解了心灵，将主观意识与客观无意识分开。因此，自我与故事中向我们描绘的“男性”特征等同起来，最明显地代表了一种以自我为中心的对权力和控制的渴望。这样一来，它就与故事所代表的人类心理中的“女性”元素分开了。这些，将同情他人的能力与直觉理解、客观和“整体”看待的能力结合起来，植根于本质上无私的本能无意识。
By contrast, stories are then concerned to show what is necessary to counter the distorting power of the human ego. The effect of egocentricity is that it disintegrates the psyche, separating subjective consciousness from the objective unconscious. The ego thus becomes identified with what stories portray to us as ‘masculine’ characteristics, most obviously representing a self-centred urge for power and control. In so doing it becomes split off from what stories represent to us as the ‘feminine’ elements in the human psyche. These, combining the capacity to feel sympathetically for others with intuitive understanding, the ability to see objectively and ‘whole’, are rooted in the instinctive unconscious which is essentially selfless.
因此，故事中存在“黑暗男性”和“光明女性”（以光明女主角为代表）之间的根本区别。如果没有无私价值观的赋予生命的平衡（只有无私价值观才能提供与他人以及与外部世界现实的活生生的联系），男性意识就必须保持切断并受制于自我。它因此变成了“怪物”并变得致命。为了抵消自我的分裂和破坏性力量，需要的是男性与女性的重新整合。
Hence that fundamental division in stories between the ‘dark masculine’ and the ‘light feminine’, represented by the light heroine. Without the life-giving balance of the selfless values which alone can provide a living connection with other people and with the reality of the world outside it, masculine consciousness must remain cut off and in thrall to the ego. It thus turns into the ‘monster’ and becomes deadly. To counteract the divisive and destructive power of the ego what is needed is a reintegration of the masculine with the feminine.
3.线上/线下
3. Above the line/below the line
无意识用来描绘这种心理分裂的最微妙的手段之一是它向我们呈现一个故事的小世界或“王国”，分为两个层次：“线上”和“线下”。这对应于人类心理中意识与无意识之间的关系。
One of the subtlest of the devices the unconscious uses to portray this psychic split is the way it presents to us the little world or ‘kingdom’ of a story divided into two levels: ‘above the line’ and ‘below the line’. This corresponds to the relationship between consciousness and the unconscious in the human psyche.
在上层，故事的世界由一个（或多个）黑暗人物统治，行使着权力和控制权。他、她或他们狭隘的自我中心主义代表了自我意识的有限视野。正是在“较低的层面”，在上层占主导地位的自我主义所投下的阴影中，我们看到了无私情感和看到整体的能力的光明价值观，这些价值观具有使上层恢复平衡状态的潜力。因此，“线下”世界代表了无意识，包含了主导意识所缺乏的赋予生命的价值观。最终，在一个完全解决的故事中，我们看到这些价值观从低等境界中浮现出来，驱散黑暗，恢复平衡状态。因此，故事提供了一个模型，说明分裂的心灵“王国”如何重新整合。
On the upper level, the world of the story is dominated by a dark figure (or figures), exercising power and control. His, her or their blinkered egocentricity represents the limited vision of ego-consciousness. It is on the ‘inferior level’, in the shadows cast by the egotism which is dominant on the upper level, that we see those light values of selfless feeling and the ability to see whole which have the potential to bring the upper level back to a state of balance. The world ‘below the line’ thus represents the unconscious, containing the life-giving values which the ruling consciousness lacks. Eventually, in a fully-resolved story, we see these values emerging from the inferior realm, to dispel the darkness and restore a state of balance. Thus do stories provide a model of how the divided ‘kingdom’ of the psyche can become reintegrated.
4、未实现价值
4. The unrealised value
故事展示这场融合之战的核心手段是将其置于每个人类生活中最基本的心理过程的背景中：每个人，当他或她代表新一代出现在世界上时，必须长大以取代前一代。
The central means whereby stories show this battle for integration being acted out is by setting it in the context of the most fundamental psychological process in every human life: that by which each individual, as he or she emerges into the world representing a new generation, must grow up to replace the generation which came before.
这就是为什么在故事的开头我们经常看到中心人物是年轻且单身的。故事的目的是展示男女主人公努力实现男性和女性的融合、平衡，这最终将使他们以正确的方式取得成功。男主角必须以正确的方式成长，才能与女主角结合并成为父亲。女儿女主角必须长大后嫁给英雄，成为母亲。在他们完全准备好成功之前，他们在某种程度上仍然不成熟和不完整。但当他们最终实现目标时，我们会看到他们如何达到心理完整的状态，即成熟。
This is why so often at the beginning of stories we see the central figure as young and single. The aim of the story is to show the hero or heroine working towards that state of integration, the balance of masculine and feminine, which will ultimately enable them to succeed in the right way. The Son-Hero must grow up in the right way to unite with a heroine and become a father. The Daughter-Heroine must grow up to marry a hero, to become a mother. Until they are fully ready to succeed, they remain in some way immature and incomplete. But when they finally reach their goal, we see how they have reached that state of psychic wholeness which is maturity.
为了实现这一目标，他们必须努力完成某种版本的“原型家庭剧”，这是讲故事的核心。这集中在四个原型角色的不同方面，这些角色构成了一代人与下一代人之间过渡的戏剧：父亲；母亲; 我们认同的故事的中心人物，英雄或女英雄；最后是“另一半”，他们将与“另一半”结合成一个整体，使整个过程得以完成。
To achieve this goal they have to work their way through some version of that ‘archetypal family drama’ which lies at the heart of storytelling. This centres on different aspects of the four archetypal roles which make up the drama of that transition between one generation and the next: Father; Mother; the central figure in the story with whom we identify, its hero or heroine; and finally the ‘other half’ with whom they are to be united to become whole, to make the process complete.
正如我们所看到的，无意识在讲故事中表达自己观点的最巧妙的手段莫过于它使用这四个原型人物的黑暗版本来代表“未实现的价值”：男女主人公所认为的负面版本。需要让自己积极起来才能成功。这就是为什么一个或多个黑暗人物，例如“黑暗父亲”、“黑暗母亲”、黑暗“另一个自我”或黑暗“另一半”，在大多数故事的大部分中扮演着如此主导的角色，因为它们各自以不同的方式对应着故事中心人物尚未完成的某些方面。只有当男女主人公自己达到了最终的融合状态时，黑暗才能够被驱散，‘线上’和‘线下’的分裂才能得到解决。
As we have seen, there is no more ingenious device by which the unconscious makes its point in storytelling than the way it uses dark versions of these four archetypal figures to represent the ‘unrealised value’: the negative version of that which the hero or heroine need to make positive in themselves in order to succeed. This is why one or more dark figures, such as a ‘Dark Father’, a ‘Dark Mother’, a dark ‘Alter-Ego’ or dark ‘Other Half’, play such dominant roles through the greater part of most stories, because they each in their different ways correspond to some respect in which the central figure of the story is not yet complete. Only when the hero or heroine themselves reach the point where they are ready for the final state of integration can the darkness be dispelled and the split between ‘above the line’ and ‘below the line’ be resolved.
5.自我实现
5. Self-realisation
故事中发生这种整合的时刻的标志是“被隐藏的东西”最终被揭露。从阴影中释放救赎价值。这可能象征着发现埋藏的宝藏，或者实现某些长期追求的目标。更明确地说，我们将这个奖项视为“女性价值”的解放，就像当一位女英雄从监狱中被释放出来一样。一个怪物，或者从她被遮蔽的黑暗中出现。但从本质上讲，这一时刻可能以四种方式来象征。首先，我们在某种程度上看到了男性和女性价值观的融合，最明显的象征是英雄或女英雄与他们的“另一半”完美结合的形象。其次，我们看到了秩序恢复、生活更新的景象。这可能表现为男女主角继承统治某种“王国”，为他们的生活建立了一个新的中心，在那里他们可以“从此幸福地生活”。第三，据报道，他们现在已经达到了个人身份的中心；他们已经成为最完整的自己。第四，也是最后，我们看到这一目标的实现可能会对周围更广泛的社区产生巨大的影响。他们解决了黑暗势力带来的问题并实现一体化，这一事实被描述为给社会和整个人类带来了普遍利益。处于阴影中、受到利己主义威胁的“王国”或社区，已经重新回到光明之中并恢复了原状。一个人消除黑暗力量会带来所有人都能感受到的后果。
The moment in a story when this integration takes place is marked by the final bringing to light of ‘that which has been hidden’; the release of the redeeming value from the shadows. This may be symbolised as the uncovering of a buried treasure, or the reaching of some long-pursued goal. More explicitly we see this prize as the liberation of the ‘feminine value’, as when a heroine is freed from imprisonment by a monster, or emerges from the darkness in which she has been obscured. But essentially this moment is likely to be symbolised in four ways. Firstly, we see, in some way, a coming together of the masculine and feminine values, most obviously symbolised by an image of a hero or heroine being joined with their ‘other half’ in perfect union. Secondly, we see an image of order restored and life renewed. This may be symbolised in the succession of the hero and heroine to preside over some kind of ‘kingdom’, having established a new centre to their lives where they can ‘live happily ever after’. Thirdly, it is conveyed, they have now reached the centre of their personal identity; they have become most fully themselves. Fourthly, and last, we see how the achieving of this goal may have immense repercussions for the wider community around them. The very fact that they have resolved the problem posed by the dark power and become integrated is portrayed as bringing general benefit to society and humanity as a whole. The ‘kingdom’ or community which was in the shadows, threatened by egotism, has been brought back into the light and restored to itself. The elimination of the dark power by one individual has consequences felt by all.
所有这些元素放在一起代表了通过自我原型象征主义表达的整体状态。这就是无意识象征性地向我们展示的原型模式，告诉我们如何利用我们的无意识本能编程来恢复这种统一，而这种本能编程最初是随着“堕落”而开始分裂的。
All these elements put together represent that state of wholeness which is expressed through the archetypal symbolism of the Self. Such is the archetypal pattern by which the unconscious symbolically shows us how we may restore that unity with our unconscious instinctive programming which first began to split apart with the ‘Fall’.
展现那种统一状态的恢复是完全解决故事模式的唯一途径。它必须根据基本规则来这样做，这些规则坚持认为这样的决议只能在特定条件下、当某些要素就位时才能实现。如果不是，就像那些从以自我为中心的角度讲述故事的“黑暗版本”故事一样，故事就无法达到适当的解决方案。
To show the restoration of that state of unity is the only way in which the pattern of a story can be fully resolved; and it must do so according to fundamental rules, which insist that such a resolution can only be achieved under specific conditions, when certain ingredients are in place. If they are not, as in those ‘dark versions’ of stories where the story is told from an ego-centred point of view, the story cannot achieve a proper resolution.
当然，故事不仅仅向我们展示了人性如何实现重新整合状态的理想化画面。它们还为我们提供了一面镜子，让我们看到所有不同的心理不平衡状态，这些状态可能会阻止人类首先达到那种完整的状态。
But of course stories do not just present us with an idealised picture of how human nature can achieve a reintegrated state. They also provide us with a mirror to all those different states of psychological imbalance which can prevent human beings from reaching that state of wholeness in the first place.
意识瓦解
Disintegrated consciousness
人类区别于其他动物的心灵分裂不仅仅是意识与无意识的分离。我们的精神分裂的另一个后果是，意识本身在一个人和另一个人之间以截然不同的方式发展。
The psychic split which distinguishes human beings from other animals is not just a matter of the separation of consciousness from the unconscious. Another consequence of our psychic disintegration is that consciousness itself develops in widely differing ways between one individual and another.
这就是为什么人类在很大程度上比其他动物表现出如此多种不同的性格类型。我们认为有些人性格坚强，有些人性格软弱。有些人热情、外向，有些人冷漠、孤僻。一个人可能天生务实、脚踏实地，另一个人则理智而超然，第三个人浪漫而感性，第四个人富有想象力和精神。
This is why, to a far greater extent than other animals, human beings present such a variety of different personality types. We see some people as having strong personalities, others weak. Some are warm and outgoing, others cold and withdrawn. One person may be naturally practical and down-to-earth, another cerebral and detached, a third romantic and emotional, a fourth imaginative and spiritual.
分析心理构成的这种变化的一种更明显的方法是根据我们在构成人类整体状态的故事中看到的四种心理功能。实际上这四个功能构成了不同类型意识的层次结构，每种意识都可以被视为一种独特的感知或智力形式。
One of the more obvious ways in which such variations in psychological makeup can be analysed is in terms of those four psychic functions which we see in stories making up the state of human wholeness. In reality these four functions constitute a hierarchy of different types of consciousness, each of which can be viewed in its own right as a distinct form of perception or intelligence.
最基本的层面是身体意识，它通过我们的感官、通过我们的身体需求和能力将我们与世界联系起来。正是这一点使我们立足于实际现实，并赋予我们强大的物理存在感。心智能力为我们提供了分析、计算和辨别的认知能力，并且通常通过心智的力量来组织我们对世界的感知。正是从这两种形式的意识中，我们得出了对人类生活几乎各个方面的有效性至关重要的两个要素：力量和结构。但要赋予生命，这些功能需要通过“女性”意识形式来平衡：情商赋予保护和同情的能力；富有想象力的理解力可以超越感官和理性感知的局限性，看到事物如何相互联系和配合。5
At the most basic level is physical consciousness, that which relates us to the world through our senses, through our physical needs and capabilities. It is this which anchors us to practical realities and can give a strong physical presence. Mental intelligence provides our cognitive ability to analyse, calculate and discriminate, and generally to organise our perception of the world through the power of the mind. It is from these two forms of consciousness that we derive those two ingredients essential to the effectiveness of almost every aspect of human life: strength and structure. But to become life-giving these functions need to be balanced by the ‘feminine’ forms of consciousness: the emotional intelligence which gives the capacity for protective and sympathetic feeling; and that imaginative understanding which can look beyond the limitations of sensory and rational perception, to see how things connect up and fit together.5
对于生活在自然状态下的动物来说，这些功能本能地相互结合在一起，以至于它们之间没有真正的分离。当人类第一次开始摆脱自然状态时，在很长一段时间内这仍然是事实。世界上“原始”民族（例如那些仍处于人类发展的狩猎采集阶段的民族）更明显的特征之一是，他们在多大程度上仍然接近自然的本能统一。尽管他们的意识比动物发达得多，但他们心灵的不同方面继续自然地相互协调工作。他们与周围世界的身体联系方式；他们组织对世界的心理感知的方式；他们彼此间的同理心和自然环境；他们对某个不可分割的精神整体的直觉归属感：所有这些精神运作模式仍然紧密地交织在一起，以至于很难将它们分开。但随着文明的发展，人类与自然状态的分离越来越严重，这些心理功能之间的差异就越大。正是在这里，不平衡的出现成为不同类型的人类个性出现的关键因素，因为每个人都倾向于比其他人更多地依赖某些形式的意识。那些功能发展得越强就越优越，其他人仍然处于劣势。而且，当意识以这种方式变得不平衡时，人们往往会被那些他们尚未开发的功能所困扰。
For animals living in a state of nature these functions are so instinctively integrated with each other that there is no real separation between them. And when human beings first begin to emerge from the state of nature, for a long time this remains true. One of the more obvious characteristics of the world’s ‘primitive’ peoples, such as those still at the hunter-gatherer stage of human development, is the extent to which they remain close to the instinctive unity of nature. Although their consciousness is immeasurably more developed than that of animals, the different aspects of their psyche continue to work naturally in concert with each other. The way they relate physically to the world around them; the way they organise their mental perception of the world; their sense of fellow-feeling with each other and their natural surroundings; their intuitive sense of belonging to some indivisible spiritual whole: all these modes of psychic operation remain so closely interwoven that it is hard to separate them. But as civilisation evolves and humanity becomes ever more separated from a state of nature, the more these psychic functions tend to become differentiated from one another. And it is here the imbalances arise which become a key factor in the emergence of different types of human personality, because there is then a tendency in each individual to rely more on some forms of consciousness than others. Those functions which are more strongly developed become superior, the others remain inferior. And, where consciousness becomes unbalanced in this way, people tend to become caught out by those functions in which they are less developed.
我们都熟悉其中一些较为明显的不平衡形式。例如，“感觉型”的人主要以一种方式与世界联系起来。物理方式可能非常实用，但又不过分智力。那些以身体为主的人也可能因“女性”功能不发达、缺乏对他人的感觉或缺乏想象力的理解而陷入困境。我们同样认识到，“思考型”，即那些片面地通过智力与世界建立联系的人，可能会因为与物质世界的联系不足而陷入困境。这种意识上的缺陷使得它们不协调且不切实际。他们也可能发现很难理解自己的情绪，使他们变得冷酷无情。即使他们最强大的功能，他们的思考能力，除非通过直觉理解来平衡，也可能简单地迷失在抽象的模式制作中：正如我们在迂腐的律师、干巴巴的学者或冷酷的官僚等刻板印象中所认识到的那样。6
We are all familiar with some of the more obvious of these forms of imbalance. A ‘sensation type’, for instance, someone who primarily relates to the world in a physical way, may be highly practical but not over-endowed with intellect. Those who are primarily physical may also be caught out by their underdeveloped ‘feminine’ functions, by a lack of feeling for others or of imaginative understanding. We similarly recognise that ‘thinking types’, those who one-sidedly relate to the world through their intellect, may be caught out by their inadequacy in relating to the physical world. This deficiency in consciousness renders them uncoordinated and impractical. They may also find it hard to relate to their emotions, making them cold and unfeeling. Even their strongest function, their power to think, unless this is balanced by intuitive understanding, may simply get lost in abstract pattern-making: as we recognise in such stereotypes as the pedantic lawyer, the dry-as-dust academic or the unfeeling bureaucrat.6
只要人们的意识变得过于片面，他们的思维和行为就会无意识地受到那些他们没有自觉地发展的功能的负面影响。在这方面，我们必须从两个方面来思考无意识。一方面，存在着我们无意识本身的深层结构，即我们心灵的基础，即我们与其他人类共有的“集体无意识”。另一方面，无意识的个人因素是由我们自己的个人功能有缺陷的领域组成的。
Wherever people’s consciousness becomes too one-sided in this way, their thinking and behaviour become unconsciously influenced in a negative way by those functions in which they are not consciously developed. And in this respect we have to think of unconsciousness in two ways. On one hand there are the deep structures of our unconscious proper, the foundation of our psyche, that ‘collective unconscious’ which we share in common with the rest of humanity. On the other there is that personal element of unconsciousness made up of the areas in which our own individual functioning is deficient.
这些缺陷不仅会无意识地影响我们的思维和行为，因为它们本身并没有充分发挥作用。由此产生的不平衡也会干扰那些我们更强大的功能的运作。这同样适用于“女性”功能，除非它们具有“男性”平衡的力量和纪律，否则它们无法找到适当的表达。一个主要依靠感觉但软弱且缺乏理性的人会变得情绪化，缺乏有效引导情感的力量和纪律。具有高度直觉但无法控制理性或实践意识的人可能会成为非理性误判的牺牲品，从而失去只有在直觉受到训练时才能实现的理解力。
Not only do these deficiencies unconsciously influence our thinking and behaviour, because they themselves are not operating to full effect. The resulting imbalances can also interfere with the workings of those functions in which we are more strongly developed. This applies equally to the ‘feminine’ functions, which cannot find proper expression unless they have the strength and discipline of their ‘masculine’ balance. Someone who relies primarily on feeling but is weak and lacking in rationality becomes chaotically emotional, lacking the power and discipline to direct their feelings effectively. Someone who is highly intuitive but without controlling reason or a sense of the practical may fall prey to irrational misjudgements, losing precisely that power of understanding which can only be achieved when intuition is disciplined.
没有人的性格不能通过这种方式来分析其“男性”和“女性”成分之间的平衡。一个具有强烈“男性气质”的男人必然不可避免地受到限制，除非这与代表他的阿尼玛（anima） 、他的“内在女性气质”的感觉和想象力相平衡。麻木不仁且以自我为中心。因此，他很可能成为恶霸或暴君。相反，一个阳刚之气较弱的男人，一个“妈妈的儿子”，就无法适当地发展他个性的任何一面。正如我们所说，他被“消极阿尼玛”所占据，变得女性化。他的情感能力可能仍然以自我为中心、多愁善感，而他压抑的男子气概往往只会以“低等”的方式表现出来，使他变得像猫一样，脾气暴躁。
There is no one whose personality cannot be analysed in terms of the balance between its ‘masculine’ and ‘feminine’ components in this way. A man who is strongly ‘masculine’ must inevitably, unless this is balanced by the feeling and imagination which represent his anima, his ‘inner feminine’, remain limited, insensitive and self-centred. He is thus likely to become a bully or a tyrant. Conversely, a man weak in his masculinity, a ‘mother’s boy’, cannot develop either side of his personality properly. Taken over by his ‘negative anima’, he becomes, as we say, effeminate. His capacity for feeling may remain self-centred and sentimental, while his repressed masculinity tends to assert itself only in an ‘inferior’ way, making him feline and petulant.
同样，女性的个性需要“内在男性气质”的平衡。除非一个女人的女性气质通过她的敌意的力量得到积极的平衡，否则她仍然是软弱的、非理性的和无组织的。但同样，如果一个女人的女性气质被她内在的男性气质所取代，她就会变得强硬、自信和专横。正如我们所说，她被“消极敌意”所占据，变成了泼妇。她很快就会找茬或生气，急于挑起争吵，她的消极敌意在模仿男性理性的同时，还说着非理性的废话。
Similarly a woman’s personality needs the balance of the ‘inner masculine’. Unless a woman’s femininity is given positive balance by the strength of her animus, she remains weak, irrational and disorganised. But again, a woman whose femininity becomes overridden by her inner masculinity becomes hard, assertive and domineering. Taken over by her ‘negative animus’, she becomes, as we say, a virago. Quick to find fault or to take offence, eager to pick a quarrel, her negative animus speaks in a parody of masculine rationality while talking irrational nonsense.
所有这些对破碎的心灵的排列的共同点是，它们都集中在自我无法正确地与无意识的无私水平整合上。因此，它们都是不成熟的不同表现；当然，没有什么比故事世界更清晰地反映了人类未能达到这种融合状态的所有方式。但他们也向我们展示了任何人类达到成熟所需的模型。这意味着他或她必须有意识地达到与无意识和谐的状态。他们必须在人格中的男性和女性元素之间达到平衡：身体和思想、心灵和灵魂之间。只有通过将所有这些结合在一起，任何人才能超越自我的限制，与他们内心深处的自我认同。讲故事的核心目的是展示如何实现这种状态（以及人类如何以及为何未能实现这一状态）。
What all these permutations on the disintegrated psyche have in common is that they are centred on the inability of the ego properly to integrate with the selfless level of the unconscious. They are all therefore different manifestations of immaturity; and certainly nothing provides a clearer mirror than the world of stories to all the ways in which human beings can fall short of that state of integration. But what they also present us with is a model of what is required for any human being to achieve maturity. This means that he or she must consciously have reached a state of harmony with the unconscious. They must have achieved a balance between the masculine and feminine elements in their personality: between body and mind, heart and soul. Only through bringing all these together can anyone rise above the limitations of the ego to become identified with their inmost Self. And to show how this state can be achieved (and how and why human beings fall short of achieving it) is the central purpose of storytelling.
生活模式
Patterns for life
当橡子落到地上时，它包含了成长为完美、完全发育的橡树所需的所有遗传信息。当人类婴儿出生时，它包含了身体发育成成年男性或女性所需的所有基因编程。它所缺乏的是确保它最终在心理上成长为一个完全成熟的人类的本能编程。正是这种缺乏，作为讲故事基础的原型模式通过进化而出现来弥补。
When an acorn falls onto the ground, it contains all the genetic information it needs to grow up into a perfect, fully developed oak tree. When a human baby is born, it contains all the genetic programming it needs to develop physically into a fully grown man or woman. What it does not have is the instinctive programming to ensure that it will eventually grow up psychologically into a fully mature human being. It is precisely this lack for which the archetypal patterns which underlie storytelling have emerged through evolution to compensate.
这些无意识模式在多大程度上可以说是人类共同基因遗传的一部分可能需要限定。我们在本书中看到的几乎所有单个故事都仅来自一种文化传统，即我们自己的西方文明，尽管这包括迄今为止世界上最丰富的讲故事的复杂性，并且可以追溯到其根源，通过希腊和中东神话，可以追溯到史前时期。在这一传统中发展起来的一些故事形式，例如喜剧，很少在该传统之外找到。但即使当我们超越自己的传统，例如非洲或美洲土著人民的神话和民间故事时，我们仍然发现构成所有故事讲述基础的相同象征主义核心。
To just what extent these unconscious patterns can be said to be part of the common genetic inheritance of mankind may call for qualification. Almost all the individual stories we have been looking at in this book have been drawn only from one cultural tradition, that of our own Western civilisation, even though this includes by far the most richly developed complex of storytelling in the world and can trace its roots, via Greek and Middle Eastern mythology, far back into pre-history. Some of the story-forms which have evolved within that tradition, such as Comedy, are rarely found outside it. But even when we look outside our own tradition to, say, the mythology and folk tales of the indigenous peoples of Africa or the Americas, we still find that same core of symbolism which forms the basis of all storytelling.
曾经在美国中西部大平原上漫游的部落所讲述的故事，就是我们所知的夏延形式的“跳鼠”故事。从前有一只小老鼠，和其他老鼠一起在森林里忙碌地生活着，有一天，它听到一种奇怪的、微弱的咆哮声，似乎是从很远的地方传来的。其他老鼠都听不到声音，但当声音持续存在时，他最终独自出发去看看那是什么。他遇到了一只浣熊（在某些版本中是狐狸），浣熊引导他越来越靠近咆哮的源头，直到小老鼠发现自己正看着一条浩瀚的河流。在这里，一只青蛙告诉他跳到空中。当老鼠这样做时，他掉进了水里，浑身湿透了。但在跳跃时，老鼠远远地瞥见了他所见过的最美丽的景象：“圣山”（在某些版本中，只有一座山）。青蛙告诉他，他现在变成了“跳跃的老鼠”，他回到老鼠同伴身边，告诉他们他所看到的令人惊奇的事情。他们不知道他在说什么，并认为他疯了。
A story told by the tribes who once roamed the Great Plains of the American Middle-West is the tale we know in its Cheyenne form as Jumping Mouse. There was once a little mouse, living busily in a forest with all the other mice around him, who one day heard a strange, faint roaring noise, seemingly coming from far away. None of the other mice could hear it, but when it persisted, he eventually set off on his own to see what it was. He runs into a raccoon (in some versions a fox) who guides him nearer and nearer to the source of the roaring, until the little mouse finds himself looking at a mighty river. Here a frog tells him to jump up in the air. When the mouse does so, he falls into the water and gets horribly wet. But while jumping, the mouse has glimpsed far off the most beautiful sight he has ever seen: the ‘Sacred Mountains’ (in some versions, just one mountain). The frog tells him he has now become ‘Jumping Mouse’ and he returns to his fellow-mice to tell them of the amazing thing he has seen. They have no idea what he is talking about and dismiss him as mad.
然而，跳鼠对他的圣山如此着迷，以至于他踏上了一段漫长而孤独的旅程去到达那里。他最终从森林中出现，来到了一片开阔的平原边缘，平原一望无际。老鹰在其上方的天空中盘旋，它们只想抓住一只老鼠作为晚餐。但随后他遇到了一头失去视力的野牛。野牛说，有人告诉它，如果能给它一双老鼠的眼睛，它就会恢复视力。跳跳鼠交出了自己的一只眼睛，野牛现在能够看见东西了，载着他安全地穿过平原，到达圣山的山麓。在这里，野牛无法再前进，但老鼠随后遇到了一只狼（在某些版本中是熊），狼也被击瞎了。老鼠交出了第二只眼睛，
So obsessed has Jumping Mouse become with his Sacred Mountains, however, that he sets off on a long, lonely journey to reach them. He eventually emerges from the forest to the edge of a great open plain, stretching as far as the eye can see. Wheeling in the sky above it are eagles, which would like nothing more than to catch a mouse for their dinner. But he then encounters a bison which has lost its sight. The bison says it has been told that, if only it could be given the eye of a mouse, it would regain its sight. Jumping Mouse hands over one of his eyes and the bison, now able to see, carries him safely over the plain to the foothills of the Sacred Mountains. Here the bison can go no further, but the mouse then runs into a wolf (in some versions a bear) which has also been struck blind. The mouse surrenders its second eye, the wolf regains its sight and carries the mouse, now itself blind, up into the mountains until they reach the shore of a sacred lake, where the wolf leaves the mouse all alone.
当老鼠被抛弃、虚弱且毫无防御能力时，没过多久，一只强大的老鹰就俯冲下来攻击它。当它的爪子攻击时，老鼠感受到了死亡的震撼。但他发现自己被带到了空中，当他飞向天空时，他发现自己的视力和力量奇迹般地恢复了。故事结尾，“老鼠”“变成了老鹰”。
As the mouse is abandoned, weak and defenceless, it is not long before a mighty eagle swoops down to attack him. As its talons strike, the mouse feels the shock of death. But he finds himself being carried up into the air and, as he soars up into the heavens, he finds his sight and strength miraculously returning. ‘Mouse’, the story ends, ‘has become Eagle’.
尽管这个故事来自与我们的文化传统相距甚远的文化传统，但它的基本信息却没有什么是我们不能立即认识到的。故事从一群老鼠开始，它们全神贯注于忙碌、平凡、以自我为中心的存在。只有一个人有一种直觉的认识，即在某个地方，有一些东西对生命来说远比这有限的世界观更重要，并开始了他漫长而危险的探索以达到它。我们认识到，英雄只有通过对其他动物的自我牺牲和慷慨行为，才能朝着他遥远的目标取得进展，而这些动物随后成为他的帮助者。显然，这个故事的主题是完全熟悉的，因为它描述了一个最初平凡的小人物如何发现自己最终变成了不可估量的伟大人物：
Although this story comes from a cultural tradition which could scarcely be more remote from our own, there is nothing about its fundamental message we cannot immediately recognise. It begins with the group of mice all preoccupied with their busy, mundane, ego-centred existence. Only one has an intuitive apprehension that, somewhere, there is something far more important to life than just this limited little view of the world, and sets out on his long, hazardous Quest to reach it. We recognise the way the hero only makes progress towards his distant goal by self-sacrificing acts of generosity to other animals, who then become his helpers. And obviously the story’s main theme, as it describes how an initially ordinary little figure finds himself eventually transformed into something immeasurably greater, is entirely familiar: even if he only becomes at one with the power of the universal life-force at the moment when his separate ego-identity finally dissolves in death.
世界各地讲故事的基本信息是，人性有两个中心：要与生命的整体重新结合，就必须经历从一个中心到另一个中心的漫长而艰难的转变。从我们最早的岁月开始，无意识试图通过故事阐明的第一点是，人类面临的最大危险是其以自我为中心思考和行动的能力。这就是为什么那些对我们小时候有意义的第一个结构正确的故事往往会展示一个小英雄或女英雄，就像我们自己一样，冒险进入一个神秘的外部世界，比如一片大森林，在那里他们遇到了一些可怕的黑暗。人物：女巫、巨人、狼或其他怪物。
The essential message of storytelling all over the world is that there are two centres to human nature: and that to become reunited with the totality of life it is necessary to make the long and difficult transition from one to the other. From our earliest years, the first point the unconscious tries to make through stories is that the greatest danger to the human race is its own capacity to think and to act egocentrically. This is why those first properly-formed stories which make sense to us as a child tend to show a little hero or heroine, much like ourselves, venturing out into a mysterious outside world, such as a great forest, where they encounter some terrifying dark figure: a witch, a giant, a wolf or some other monster. The purpose of this is to introduce the child to a personification of that dark power of egotism which it must learn to recognise as its most deadly enemy.
最初，这个敌人被表现为完全外在的东西；正如我们所看到的，这些故事的目的只是为了唤醒孩子的潜意识，让他们意识到，在他即将进入的这个陌生的新世界中，存在着一种致命的力量。但随着我们年龄的增长，这个信息逐渐被充实，因为它以更微妙和更深入的方式向我们传达了英雄或女英雄必须发展的品质，才能达到完美的幸福结局；尤其是当我们看到那些英雄或女英雄必须与自己内心同样的黑暗力量搏斗的故事时。
Initially this enemy is shown as something wholly external; and the point of such stories, as we saw, is simply to awaken the child’s subconscious awareness to the fact that, in this strange new world it is entering, such a deadly power exists. But progressively, as we grow older, the message is filled out, as it conveys to us with greater subtlety and depth those qualities the hero or heroine must develop for them to reach the complete happy ending; not least when we come to those types of story which show the hero or heroine having to wrestle with that same dark power in themselves.
因此，无论我们是否对此做出反应，用故事不断丰富我们的想象力是否为我们提供了一面独特的镜子，反映人性的内在动力。最重要的是，在我们的意识层面之下，它们的象征意义的一致性逐渐建立起人类生活模式的形象，以及如果我们失败了会发生什么。
So, whether we respond to it or not, does the constant feeding of our imagination with stories provide us with a unique mirror to the inner dynamics of human nature. Above all, below the level of our consciousness, the consistency of their symbolism gradually builds up an image of what the pattern of a human life can be, and what happens if we fail.
人生的各个阶段
The stages of life
我们心中都有一个关于人类生活如何展开的概括轮廓（即使实际上许多个人的生活与它不同）。这种模式始于孩子出生在一个有母亲和父亲的家庭。最初，孩子与母亲生活在家里，关系密切，然后开始冒险进入外面的世界，作为更广泛社区的一部分开始社会化和教育。青春期结束时，孩子准备好以一种完全不同的方式走向世界，摆脱对父母的依赖，开始建立独立的生活。作为一个进入成年生活的年轻男女，他们不仅在发现“他们想成为什么”，而且准备开始寻找他们的“另一半”，与之建立一个新家，作为开始的基础一个新的家庭。
We all have in our minds a generalised outline of how a human life unfolds (even if in reality many individual lives vary from it). The pattern begins with the child being born into a family with a mother and a father. Initially living at home in an intimate relationship with its mother, the child then begins to venture into the outside world, embarking on its socialisation and education as part of a wider community. At the end of adolescence, it is ready to go out into the world in a quite different way, as it breaks away from dependence on its parents and begins to establish an independent life. As a young man or woman entering on adult life, they are not only discovering ‘what they want to be’ but are ready to begin looking for their ‘other half’ with whom to establish a new home, as the basis on which to start a new family. The preoccupations of this phase of life then become to establish a place in the outside world and to watch over the children as they grow up towards adulthood in turn.
然后，在这个理想化的画面中，“人生的前半生”的任务完成了，现在开始了“人生的后半生”。男性或女性可能能够在工作中或更广泛的社区中承担更负责任的角色，因为他们现在已经具备了年龄和经验。他们已经准备好扮演祖父母的角色，并在确认这一点后感到放心带来他们所负责的生活将继续到未来。此时，如果他们从生活的经历中吸取了教训，他们就认识了自己，也认识了人情世故。他们已经变得完全成熟，甚至明智了。最终，衰老降临到他们身上，他们退出这个世界，准备迎接死亡。
Then, in this idealised picture, comes the moment when the tasks of ‘the first half of life’ are completed, and now begins the ‘second half’. The man or the woman may be able to take on more responsible roles in their work or the wider community, for which they are now equipped by age and experience. They are ready to play their roles as grandparents, reassured at the confirmation this brings that the life for which they have been responsible is continuing into the future. At this point, if they have learned from their experience of life, they know themselves and the ways of the world. They have become fully mature, even wise. Eventually old age overtakes them, they withdraw from the world and prepare for death.
从这个大纲中我们可以看出，《白手起家》的基本情节最为全面，最接近于为人类生活提供了一个象征性的模型。与其他故事相比，这种类型的故事更一致地从童年时期的中心人物开始。这使得它能够阐述人类发展的所有基本阶段，因为最初卑微和被忽视的小英雄或女英雄走上了漫长的道路，最终他们将能够认同潜在的更大的“自我”。一直隐藏在他们之中。
In the light of this outline, we can see how the most comprehensive of the basic plots is Rags to Riches, in that it comes nearest to providing a symbolic model for human life. More consistently than any other, this type of story begins by showing its central figure in childhood. This enables it to set out all the essential stages of human development, as the initially humble and disregarded little hero or heroine embark on the long road to the point where they will eventually be able to identify with that greater ‘Self’ which has been potentially hidden in them all along.
当我们第一次见到白手起家故事中的男女主人公时，我们看到的他们都是我们刚开始生活时的情景，被父母和周围所有人的存在所掩盖。但与周围的黑暗人物相比，他们必须表现出的重要品质是，他们本质上是善良的，因为这表明他们不是以自我为中心的。他们与自己更深层次、无私的本能相一致，这是他们最终有资格达到最终目标的重要前提。
When we first meet the hero or heroine of a Rags to Riches story, we see them in the situation in which we all begin our lives, overshadowed by the presence of parents and everyone around us. But the vital quality they must be shown as possessing, in contrast to the dark figures around them, is that they are essentially good-hearted, because this shows they are not egocentric. They are in tune with their deeper, selfless instincts, which is the vital precondition of their eventually being qualified to reach the ultimate goal.
该模式表明，第一步是童年时期的男女主人公去外面的世界冒险。这象征着我们每个人在童年时期都需要建立对自己独立身份的安全感：需要建立心理学家所说的“自我情结”，它使我们能够自信地与周围的世界建立联系。我们都需要强大的自我，因为它是我们认识世界的中心。但要回答的关键问题是，自我的行为是否只是为了自己的利益，还是与某种更深层次的本能模式相协调，这种模式可以将自我与现实和外部世界积极地联系起来。
The first step, the pattern shows, is for the hero or heroine in childhood to make some venture into the outside world. This symbolises the need for each of us in childhood to establish a secure sense of our own independent identity: the need to build up what the psychologists call our ‘ego-complex’, that which enables us to relate confidently to the world around us. We all need a strong ego, because it is the centre of our awareness of the world. But the crucial question to be answered is whether that ego is acting only in its own interest, or whether it is acting in harmony with some deeper instinctive pattern which can connect it positively with reality and the world outside itself.
在生命的早期阶段，像我们所有人一样，男女主人公本质上仍然依赖于周围的成年人，这就是为什么他们很可能被代表负面版本的“黑暗父亲”或“黑暗母亲”形象所掩盖。为了成功，他们自己最终必须将其转化为积极的东西。但可能带领他们度过生命早期阶段的是他们与“乐于助人的动物”的联盟，比如阿拉丁的精灵（与我们的“基因”一词源于同一词根），代表了我们年轻时所依赖的所有本能天赋和能力，然后我们才能实现有意识的自我理解。
At this early stage of life, like all of us, the hero or heroine are still essentially dependent on the adults around them, which is why they are likely to be overshadowed by ‘Dark Father’ or ‘Dark Mother’ figures, representing negative versions of what they themselves must eventually redeem into a positive in order to succeed. But what may carry them through these early stages of life is their alliance with ‘helpful animals’, like Aladdin’s genies (derived from the same root as our word ‘genes’), representing all those instinctive gifts and abilities on which we rely in youth, before we can achieve conscious Self-understanding.
然后，在青春期结束时，第二个更重要的举动是踏入外部世界，我们进入成年生活的阶段（这是许多基于其他情节的故事开始的地方）。这里的故事展示了这些与生俱来的品质如何在适当的时候带来表面上看似幸福的结局，就像阿拉丁一样，我们可以结婚并在外面的世界享受巨大的成功。但在故事的这一点上，我们来到了白手起家的基本故事中非常重要的时刻，我们将其视为“中心危机”。
Then, at the end of adolescence, comes that second, even more significant act of stepping into the outside world, where we enter on the stage of adult life (which is where so many stories based on other plots begin). And here the story shows how these innate qualities may lead in due course to what seems outwardly like a happy ending, as when, like Aladdin, we may get married and enjoy great success in the outside world. But at this point in the story we come to that highly significant moment in the basic Rags to Riches story which we see as the ‘central crisis’.
男女主人公迄今为止所取得的一切似乎都被剥夺了，因此从某种意义上说，他们必须重新开始为实现目标而努力的过程。故事原型的目的是强调他们迄今为止所享受的外在满足并不是他们必须达到的真正目标。要达到真正的成熟，需要经历最艰巨的过程：在自我理解的基础上发展真正的性格力量，从而带来个人自主权。只有那些有意识地实现人格中男性和女性成分的完全平衡的人才能实现这一点：他们发展了带来权威的内在力量，并结合了只能来自经验的内心和灵魂的智慧。
All that the hero or heroine have so far achieved seems to be snatched away from them, so that in a sense they have to begin the process of working towards their goal all over again. The purpose of this in the story’s archetype is to emphasise that the outward fulfilment they have so far enjoyed is not the real goal that they must reach. To reach true maturity requires having to go through the most demanding process of all: to develop that real strength of character based on self-understanding which brings personal autonomy. This can only be achieved by someone who consciously achieves a complete balance of the masculine and feminine components in their personality: who has developed the inner strength which brings authority, combined with that wisdom of heart and soul which can only come from experience.
在这方面，白手起家的情节，特别是在其更发达的版本中，例如《阿拉丁》、《简·爱》或《大卫·科波菲尔》中的情节，反映了人类生活中心理发展过程分为两个部分的方式。“前半生”的首要任务是我们建立一种安全的个人身份感，同时学习如何适应我们周围社会的需求。年轻时，我们拥有充沛的生命、活力和对未来的梦想，但我们需要学习如何控制这种活力，以便我们能够在社会中确立成年角色。从外在的意义上来说，我们发现了“我们想成为什么样的人”。我们也许能够实现所有符合社会规范的外在目标，例如谋生、结婚、建立新家、建立家庭。但所有这些里程碑都可以在没有任何深度的自我认识的情况下实现。
In this respect the Rags to Riches plot, particularly as set out in its more developed versions, such as Aladdin, Jane Eyre or David Copperfield, reflects the way in which the process of psychological development in a human life falls into two parts. The overriding task of ‘the first half of life’ is for us to establish a secure sense of our individual identity while at the same time learning how to accommodate that to the demands of society around us. In youth we have abounding life, energy and dreams of the future, but we need to learn how to control that vitality to the point where we can become established in our adult role in society. In an outward sense, we discover ‘what we want to be in life’. We may be able to achieve all those outward goals which conform with the norms of society, such as earning a living, getting married, setting up a new home, establishing a family. But all these landmarks can be achieved without any great depth of self-knowledge. It is possible to achieve them while remaining inwardly immature.
然而最终，如果我们要继续走个人发展的道路，我们就必须开始属于“人生后半段”的任务，这些任务是完全不同的，因为它们要求我们向内看。它们要求我们发展更多的自我理解。我们必须学会客观地看待自己，不仅要认识到自己的优势，还要认识到自己的不足和“阴影”，并努力改正。只有通过这种有意识的自我认识，任何人才能发展基于情感和精神理解的内在力量，这对于真正的成熟至关重要。
Eventually, however, comes a point where, if we are going to continue on the road of personal development, we must embark on the tasks belonging to ‘the second half of life’, which are quite different because they require us to look within. They require us to develop much greater Self-understanding. We must learn to see ourselves objectively, recognising not just our strengths but also our deficiencies, our ‘shadow’, and to work to amend them. Only through such conscious Self-knowledge can anyone develop that inner strength based on emotional and spiritual understanding which is essential to true maturity.
当然，对于许多人来说，很可能在没有真正开始这一过程的情况下度过了人生的后半程，因此他们从根本上仍然不成熟并且以自我为中心，没有真正从他们的发展停止的地方前进。人生的前半段。在内心深处，他们被冻结在一种永恒的青春期，紧紧抓住青春的价值观，正如我们在永恒少年中看到的那样，“无法长大的男孩英雄”，然后他们常常陷入我们在电影中看到的另一种不成熟的状态。塞内克斯的原型：那些没有成就感的老年人的特征，他们通过对世界的抱怨和回忆过去的美好时光来发泄对生活的失望。
For many people, of course, it is quite possible to go through the second half of life without really embarking on this process at all, so that they remain fundamentally immature and ego-centred, having not really moved forward from where their development stopped in the first half of life. Inwardly they are frozen in a kind of perpetual adolescence, hanging onto the values of youth, as we see in the puer aeternus, the ‘boy hero who cannot grow up’, who often then slips over into that other form of immaturity we see in the archetype of the senex: that which characterises those unfulfilled older people who take out their disappointment in life in querulous moralising about the world and reminiscing how much better things were in former times.
对于那些不断内心成长的人来说，最终的奖品是与处于他们所有人中心的原型“自我”建立有意识的关系：它既是最完整的我们自己，又不是我们自己，因为它代表了有意识的自我与无意识的无私客观性之间重新整合的最终状态。7
For those who do continue to grow inwardly, the ultimate prize is to be brought into a conscious relationship with that archetype which is at the centre of them all, ‘the Self’: that which is both most completely ourselves, yet not ourselves, because it represents the ultimate state of reintegration between the conscious ego and the selfless objectivity of the unconscious.7
这就是故事结尾男女主人公最终以完美爱情走到一起并成功统治“王国”所象征的目标。从表面上看，这可能只是代表了一种自然的、近乎普遍的过程的反映，在这个过程中，绝大多数人类最终离开他们的父母，在婚姻中配对，并在一个社会中建立自己的“王国”。新家。但从无意识在故事中向我们呈现这一切的方式来看，它显然意味着代表一些更深刻、更重要的东西；《探索》的原型尤其强调了这一点，该情节比任何其他情节都更明确地将人类生活呈现为通往自我实现的遥远目标的旅程。
Such is the goal which is symbolised at the end of stories by the hero and heroine’s final coming together in perfect love and succeeding to rule over a ‘kingdom’. Superficially this might be taken to stand for no more than a reflection of that natural, near-universal process whereby the vast majority of the human race eventually leave their parents to pair off in marriage, and to set up their own ‘kingdom’ in a new home. But from the way the unconscious presents all this to us in stories it is clearly meant to represent something much deeper and more significant; and this is particularly underlined by the archetype of the Quest, the plot which more explicitly than any other presents human life as a journey towards the distant goal of Self-realisation.
探索原型最有趣的特征是它似乎与童年和早期生活的心理发展模式没有直接关系。它专注于最终自我实现的过程，这确实属于“生命的后半段”。值得注意的是，探索故事的英雄通常是成年男子，他们很可能已经结婚了。8他们面临的问题是但丁在《神曲》开场白中描述的问题当他回忆起“在这一生的旅程的中途，我来到了一片黑暗的树林，迷失了方向”时。他们的出发点是，他们已经到达了成年生活的这个阶段，在这个阶段，不假思索地生活在自我意识的状态中可能会突然变得难以忍受的束缚。在这座“毁灭之城”中，被困在注定要死亡的凡人躯体中的生活突然显得浅薄而压抑。难道这个监狱就没有逃脱的可能吗？就像跳跃的老鼠一样，他们感觉到，在遥远的地方，还有另一个完全不同的存在中心，而到达它已经成为他们生活中最重要的事情。
Not the least interesting feature of the Quest archetype is that it appears not to be directly concerned with the patterns of psychological development in childhood and early life at all. It is preoccupied with that process of final Self-realisation which really belongs to ‘the second half of life’. It is significant that the heroes of Quest stories are often full-grown men, who may well be already married.8 The problem with which they are confronted is that described by Dante in the opening lines of The Divine Comedy, when he recalls how ‘midway on the journey of this life, I came to a dark wood where the way was lost’. Their starting point is that they have arrived at that stage in adult life where living unthinkingly in the state of ego-consciousness may suddenly become intolerably constricting. Life in this ‘City of Destruction’, trapped in a mortal body doomed to die, suddenly seems shallow and oppressive. Is there no escape from this prison? Like the Jumping Mouse, they then have the sense that, far off, there is another, quite different centre to existence, and that to reach it has become the most important thing in their lives.
探索的原型模式表明，他们现在面临的旅程确实是漫长而艰巨的，并且仅仅足够接近以看到这个神秘的自我超越目标“自我”的本质就已经足够困难了。但即使当人们终于清楚地看到了这一点，最艰难的斗争开始了。这是一场与所有诱惑和挑战的战斗，自我在最后一搏中为保卫自己而抛出，直到它的抵抗最终被克服并与自我融合的那一刻。这就是托尔金的《指环王》中生动地象征的时刻，佛罗多最终看到索伦的戒指，自我的戒指，滑入末日裂缝。自我再次与它很久以前出现的“存在的基础”合而为一，给英雄留下了一种他从未想象过的宇宙解放感。
The archetypal pattern of the Quest shows that the journey they now face is indeed long and arduous, and that it is hard enough simply to get near enough to see the nature of this mysterious ego-transcending goal, the Self. But even when this has at last been brought clearly in view, the hardest struggle of all begins. This is the battle with all the temptations and challenges which the ego throws up in a last-ditch bid to defend itself, until the moment when its resistance is finally overcome and it merges with the Self. Such is the moment vividly symbolised in Tolkien’s The Lord of the Rings when Frodo finally sees Sauron’s ring, the ring of the ego, slipping away into the Cracks of Doom. Once again the ego becomes one with that ‘ground of being’ from which it long ago emerged, leaving the hero with a sense of cosmic liberation he could never have imagined possible.
航行和返回的情节就没有那么雄心勃勃了。在这里，我们回到那种故事类型，男主角或女主人公通常表现为一个刚刚开始成年生活的年轻人。正是因为他们还年轻，还没有任何真正的自我了解，所以他们表现得软弱无能地生活在自我意识的状态中。他们认为自己知道自己是谁，就像我们在成年生活之初所做的那样。但突然之间，他们的世界就跌入谷底了。他们对自己身份的看法所依据的所有假设都因为突然来到一个完全陌生的世界而支离破碎，在那里他们不再能确定任何事情。航行和返回情节的目的是为自我意识的有限视野与无意识的神秘世界之间令人震惊的对抗提供一个模型。这种相遇一开始可能令人兴奋，但最终却变得具有威胁性，正是因为他们的自我意识还没有明白要点并“看到光明”。最后，一分钱落下，英雄或女英雄学会以某种方式客观、完整地看待事物（正如我们所看到的，甚至当小彼得兔跳上独轮车来看到整个花园时）。他们终于能够“惊险地逃离死亡”，回到日常生活。他们终于有了正确的意识。最后，一分钱落下，英雄或女英雄学会以某种方式客观、完整地看待事物（正如我们所看到的，甚至当小彼得兔跳上独轮车来看到整个花园时）。他们终于能够“惊险地逃离死亡”，回到日常生活。他们终于有了正确的意识。最后，一分钱落下，英雄或女英雄学会以某种方式客观、完整地看待事物（正如我们所看到的，甚至当小彼得兔跳上独轮车来看到整个花园时）。他们终于能够“惊险地逃离死亡”，回到日常生活。他们终于有了正确的意识。
The Voyage and Return plot is much less ambitious. Here we come back to the type of story where the hero or heroine is usually shown as a young person just setting out on adult life. It is precisely because they are young and as yet without any real Self-understanding that they are shown living fecklessly in a state of ego-consciousness. They think they know who they are, as we all do at the start of adult life. But suddenly the bottom falls out of their world. All the assumptions on which they have based their idea of their own identity are blown apart by their abrupt arrival in a totally unfamiliar world, where they can no longer be sure of anything. The purpose of the Voyage and Return plot is to provide a model for that shocking confrontation between the limited vision of ego-consciousness and the mysterious world of the unconscious. The encounter may at first be exhilarating, but in the end it becomes threatening precisely because their ego–consciousness has not yet got the point and ‘seen the light’. Finally the penny drops and the hero or heroine learns in some way to see objectively and whole (as we see even when little Peter Rabbit hops up on that wheelbarrow to get sight of the whole garden). They are finally able to make the ‘thrilling escape from death’ which can return them to the everyday world. They are at last properly conscious.
然而，与“探索”相比，“航行与回归”的故事到此就戛然而止了。它描述了观点的转变，这是与自我结合的必要前奏；但是，除非在极少数情况下，例如《金驴》，否则它不会继续到我们在《奥德赛》或《神曲》中看到的完整响亮的结论。事实上，这个情节的一个显着特点是它所激发的故事数量，这些故事展示了他们的中心人物，比如伊芙琳·沃小说中的英雄或斯嘉丽·奥哈拉，从本应是一次生命更新的遭遇中回到了他们开始的地方。潜意识的世界，却什么也没学到。这首先可以通过以下事实来象征：他们的“另一半”，代表他们无私的爱和理解的能力，被抛在了后面。无论它们多么有趣，这些故事告诉我们更多的是关于沃或塞林格或刘易斯卡罗尔或JM巴里等作者的特定心理缺陷，而不是他们对人性更深层次的了解。
At this point, however, compared with the Quest, the Voyage and Return story stops short. It describes that shift of perspective which is a necessary prelude to union with the Self; but, except in rare instances, such as The Golden Ass, it does not then continue to the full resounding conclusion we see in, say, the Odyssey or The Divine Comedy. Indeed a conspicuous feature of this plot is the number of stories it inspires which show their central figure, like the heroes of Evelyn Waugh’s novels or Scarlett O’Hara, returning to where they started, from what should have been a life-renewing encounter with the world of the unconscious, but having learned nothing. This may above all be symbolised by the fact that their ‘other half’, representing their capacity for selfless love and understanding, has been left behind. However entertaining they may be, such stories tell us much more about the particular psychological shortcomings of their authors, such as Waugh or Salinger or Lewis Carroll or J. M. Barrie, than they do about the deeper levels of human nature.
喜剧的区别在于，这里的无意识特别关注利己主义对整个群体或社区的传染效应。因为“上层”的某个主导人物处于自我主义的控制之中，这给他们周围的每个人投下了扭曲的阴影。社会上的每个人都因有一些事情尚未水落石出而陷入困惑，以致他们都在误解和伪装的迷雾中跌跌撞撞。因此，每个人都会以这样或那样的方式产生矛盾被“在线上”运作的黑暗力量的影响所控制，直到故事结束的那一刻，隐藏的一切都被揭露出来，通常包括中央黑暗人物意识到他是多么盲目和以自我为中心。一直表现。此时，故事女主人公身上经常体现的无意识的无私力量终于可以从“线下”释放出来，让社区快乐地团结在一起。这个故事再次提供了一个象征性的模型，说明当意识和无意识最终重新整合时会发生什么。
The distinction of Comedy is that the unconscious here particularly focuses on the contagious effect of egotism on a whole group or community of people. Because one dominant figure in particular, on the ‘upper level’, is in the grip of egotism, this casts a distorting shadow over everyone around them. Everyone in the community is thrown into confusion by the fact that there is something which has not yet come to light, so that they are all stumbling round in a fog of misunderstanding and pretence. Everyone is thus set at odds, in one way or another dominated by the influence of that dark power operating ‘above the line’, until the moment at the end of the story where everything which has been hidden is revealed, including, usually, the realisation by the central dark figure of how blindly and egocentrically he has been behaving. At this point the selfless power of the unconscious, so often personified in the story’s heroine, can finally be released from ‘below the line’, bringing the community joyfully together. Again the story provides a symbolic model of what can happen when consciousness and the unconscious are at last reintegrated.
每个人都可以回忆起观众在看完一部发挥了魔力的喜剧后离开剧院或电影院时所感受到的非凡情绪。讲故事中没有什么比这更能打动我们，这绝非偶然。在经历了之前的所有挫折和困惑之后，情节的最后转折让我们——以及所有观众——因为看到一切奇迹般地发生而感到奇怪的欣喜和振奋。
Everyone can recall the extraordinary mood which can come over an audience as it leaves a theatre or cinema after seeing a Comedy which has worked its magic. It is no accident that few things in storytelling have greater power to move us. After all the frustrations and confusions which preceded it, the final twists of the plot leave us – and the entire audience – feeling strangely overjoyed and uplifted by the sight of how everything came out miraculously right after all.
同样的模型，虽然更具体地关注一个人的心灵中正在发生的事情，但却是无意识在重生情节中向我们呈现的模型。中心人物被冻结在自我意识中，被有限的视野所困，无法发展，以至于被象征为一种活死人。但最终，在象征着无意识无私力量的救赎人物的启发下，自我意识的监狱被打破了。正是因为男女主人公重新接触到潜意识的更深层次，他们的心和眼睛才被打开。因为他们的感受和理解被唤醒，他们被解放而变得完整。
The same model, although more specifically focused on what is happening within the psyche of one individual, is that which the unconscious presents to us in the plot of Rebirth. The central figure is shown frozen in ego-consciousness, trapped by limited vision, unable to develop, to the point where this is symbolised as a kind of living death. But eventually, inspired by the redeeming figure who symbolises the selfless power of the unconscious, the prison of ego-consciousness is broken open. Precisely because the hero or heroine have been put back in touch with the deeper level of the unconscious, their hearts and eyes are opened. Because their feeling and understanding have been awoken, they are liberated to become whole.
平衡对立面
Balancing the opposites
这些就是无意识向我们展示人类如何克服因“堕落”而发生的致命分离的模式。然而，在我们继续之前，这还有一个与我们如何想象故事密切相关的后果。这就是为了理解世界，我们的分裂意识需要不断地从对立面来看待它。
Such are the patterns whereby the unconscious shows us how humanity can overcome that fatal separation which took place with the ‘Fall’. Before we move on, however, this has one further consequence which is of profound relevance to how we imagine stories. This is the way in which, to make sense of the world, our split-off consciousness needs constantly to see it in terms of opposites.
对于人类思维过程来说，没有什么比我们如何将一切划分为一件事与另一件事之间的对立更基本的了。我们通过说上或下、前或后、左或右、上或下、长或短、重或轻、热或冷、干或湿、软或硬、未来或过去、好来定位自己在世界上的位置。或坏、光明或黑暗、生或死。这种二元论对我们的意识运作方式是如此重要，以至于我们几乎没有意识到它在我们的思维中扮演着多么无所不在的角色。这种二元性当然是我们建立和定义自己身份的关键方式之一，因为我们不断地将世界划分为群体和实体，这使我们意识到我们属于界线的一侧而不是另一侧。
Nothing is more basic to the processes of human thinking than how we divide everything into oppositions between one thing and another. We orientate ourselves through the world by speaking of up or down, forward or backwards, left or right, over or under, long or short, heavy or light, hot or cold, dry or wet, soft or hard, future or past, good or bad, light or dark, alive or dead. So fundamental is this dualism to the way our consciousness works that we are scarcely aware of what an omnipresent part it plays in our thinking. And this duality is of course one of the crucial ways in which we establish and define our own identity, because we are constantly dividing the world into groups and entities which make us aware that we belong on one side of the line rather than the other. We recognise our own identity in sensing our difference from the ‘others’.
例如，我们每个人都深刻地意识到我们要么是男性，要么是女性。我们知道我们属于一个国家而不是其他国家，属于该国家的一部分，属于一个城市、城镇或村庄，属于一个家庭。显然，这种对一个地方或群体而不是其他地方或群体的归属感，以及随之而来的所有忠诚度在建立我们是谁以及我们如何融入这个地球的意识中发挥着重要作用。但最根本的划分是让我们每个人都有一种自己的个体身份感，与世界上的每个人和其他一切分开。这是源于我们的自我意识的分裂，我们再次体验到动物王国中独一无二的程度。讲故事的模式最要克服的就是这种分歧，因为它们致力于使对立面能够调和和超越。
Each of us is profoundly aware, for instance, that we are either male or female. We are aware that we belong to one country rather than all the rest, to one part of that country, to one city, town or village, to one family. This sense of belonging to one place or group rather than others, and all the loyalties it brings with it, obviously plays a large part in building up our sense of who we are and how we fit in on this earth. But the most fundamental division of all is that which gives each of us a sense of our own individual identity, separate from everyone and everything else in the world. This is the division which, steming from our ego-consciousness, we again experience to a degree unique in the animal kingdom. And it is this division which more than anything else the patterns of storytelling are designed to overcome, as they work towards a point where the opposites can become reconciled and transcended.
这就是为什么对于故事在人类无意识中塑造自身的方式来说，没有什么比将不平衡和不完整的事物带到平衡和完成的最终状态的想法更重要的了。这就是为什么故事关注调和二元性，例如男性和女性、“线上”和“线下”、自我和自我，以及它们所象征的一切。这也是为什么在如此多的故事中，我们看到男女主人公需要在两个对立面之间走一条路，每个对立面都以自己的方式消极、不足或错误。
This is why nothing is more central to the way in which stories shape themselves in the human unconscious than the idea of bringing that which is unbalanced and incomplete to a final state of balance and completion. This is why stories are concerned with reconciling dualities, such as masculine and feminine, ‘above the line’ and ‘below the line’, ego and Self, in all that they symbolise. This is also why in so many stories we see the need for the hero or heroine to tread a path between two opposites, each of which is negative, inadequate or wrong in its own way.
我们意识的片面性质给我们带来的最大问题之一是难以正确判断对立观点之间的平衡点。当我们看到两个人陷入激烈的争论时，几乎总是没有一个人是完全正确的。每个人都可能部分正确，部分错误。真相与其说是在他们之间的某个中间点，不如说是在第三个位置，从第三个位置可以从更广阔、更清晰的角度看到他们对立的观点。同样，就像原型本身一样，人类世界中几乎每个人和每件事都呈现出光明和黑暗的一面。然而，我们很自然地不会过于简单化：只看到光明或只看到黑暗。人类事务中的真理几乎总是不存在于一组对立的一方或另一方，而是存在于超越它们的第三种立场。
One of the greatest problems posed to us by the partial nature of our consciousness is the difficulty of judging correctly the point of balance between opposing viewpoints. When we see two people locked in bitter dispute, almost invariably neither is wholly right. Each may be partly right and partly wrong. The truth lies not so much at some halfway point between them as in some third position, from which their opposing views can be seen in a wider and clearer perspective. Again, as with the archetypes themselves, almost everyone and everything in the human world presents both light and dark aspects. Yet it is only too natural to us to oversimplify: to see only the light or only the dark. The truth in human affairs almost invariably lies not on one side or the other of a set of opposites, but in some third position which transcends them both.
在故事中，我们一次又一次地看到两个对立人物之间致命的分歧，每个人都以自己的方式“一边倒”。例如，当我们看到女主人公落入恶棍或怪物的手中时，“光明的女性”落入“黑暗的男性”的手中。我们知道，这种僵局只能通过第三个人物（英雄）的介入来解决，英雄代表着能够超越僵局的品质平衡。这就是典型的“三法则”最微妙的信息。让一个故事有一个美好结局的成长之道，不只是在两个不充分的极端之间走一条中间道路，而是在于走一条中间道路。它在于实现超越这两种状态的第三种状态，只有这种状态才能带来与生活重新联系所必需的转变。
Again and again in stories we see that deadly division between two opposing figures, each in their own way ‘one-sided’; such as when we see the heroine having fallen into the clutches of a villain or monster, the ‘light feminine’ in the grip of the ‘dark masculine’. We know that such an impasse can only be resolved by the intervention of a third figure, the hero, representing the balance of qualities which can rise above it. Such is the subtlest message of that archetypal ‘rule of three’. The way of growth, allowing a story to reach a happy ending, lies not just in taking a middle way between two inadequate extremes; it lies in achieving that third state, transcending both, which alone can bring about the transformation necessary to reconnect with life.
这就是为什么古希腊人在希腊世界最神圣的地方德尔斐的阿波罗神庙上刻下铭文的真正原因，他们相信生命的最高价值是“meden agan”，“没有多余的东西”。9这源于同样的直觉过程，这个过程导致他们发展出傲慢与复仇对立的信念。他们意识到傲慢，“超越界限”，代表了由于不可避免的倾向而产生的不平衡。人类自我的片面性：而复仇女神则代表着不可阻挡的平衡纠正，确保宇宙的完整性状态最终得到恢复。
Such was the real reason why the ancient Greeks inscribed over the the temple of Apollo at Delphi, the most sacred spot in the Greek world, their belief that the highest value in life was meden agan, ‘nothing in excess’.9 This grew out of the same intuitive process which had led them to develop their belief in the counterpoint of hubris and nemesis. They were aware that hubris, ‘stepping over the bounds’, represents that imbalance which arises from the inevitable tendency to one-sidedness of the human ego: while nemesis represents that inexorable redressing of balance which ensures that the state of cosmic wholeness will eventually be restored.
所有这一切的“知识”深深地烙印在人类的心灵中，以至于不知不觉地成为了讲故事的核心。我们无法以任何其他方式想象故事。正是为了“提醒”我们有限的自我意识状态很容易忽视的东西，进化在我们身上发展出了召唤出这些图像模式的能力。只有当我们开始理解它们真正的根本目的时，我们才能正确地开始探索讲故事的想象世界与我们如何在我们所谓的“现实世界”中生活之间的关系。这就是我们下一章的主题。
The ‘knowledge’ of all this is so deeply imprinted into the human psyche that it unconsciously lies at the heart of storytelling. We cannot imagine stories in any other way. It is precisely to ‘remind’ us of what our limited state of ego-consciousness so easily overlooks that evolution developed in us the capacity to conjure up these patterns of images. And it is only when we begin to understand how this is their real underlying purpose that we can properly begin to explore the relationship between the imaginary world of storytelling and how we live our lives in what we like to call ‘the real world’. Such is the theme of our next chapter.
第三十二章
进入现实世界
统治意识
Chapter Thirty-Two
Into the Real World
The Ruling Consciousness
“少数人总是对的……大多数人总是错的。”
‘The minority is always right ... the majority is always wrong.’
易卜生，人民公敌
Ibsen, An Enemy of the People
只要一个人处于某种现象学之中，就不会感到惊讶，也不会有人想知道它到底是什么。这种哲学上的怀疑只会出现在游戏之外的人身上。
‘So long as one is within a certain phenomenology one is not astonished, and no one wonders what it is all about. Such philosophical doubt only comes to him who is outside the game.’
CG Jung，心理学与国家问题，全集，卷。十八
C. G. Jung, Psychology and National Problems, Collected Works, Vol. XVIII
弄清楚故事中最难的事情之一是它们与我们所谓的“现实生活”和我们生活的“现实世界”的关系。我们经常听到诸如“那只是一个故事”或“那只是一个童话故事”之类的轻蔑的短语。当人们想要暗示某件事完全不真实时，他们会说“这是一个神话”。我们的假设是，事实发生的事情和小说中发生的事情相距甚远，以至于它们实际上是相互对立的。
One of the hardest things to get straight about stories is their relationship with what we call ‘real life’ and the ‘real world’ in which we all live. We often hear such dismissive phrases as ‘that’s only a story’ or ‘that’s just a fairy tale’. When people wish to suggest that something is completely untrue, they say ‘it’s a myth’. The assumption is that what happens in fact and what happens in fiction are so far apart that they are actually opposed to one another.
确实，讲故事和现实生活之间的关系可能不会立即显而易见。但这可能是因为我们忽略了故事真正代表的意义。其主要原因是，我们能够用来解开我们想象故事能力的真正本质的唯一工具是它们最初的起源，即人类的心理。问题在于，塑造故事讲述的原型模式和法则深深地植根于我们的无意识中，以至于我们的意识很难识别它们。我们本能地认为故事应该以某种方式形成，以至于我们几乎不可能站在故事的一边去问为什么会这样；例如，为什么它们应该采用这些形式而不是其他形式。然而，一旦我们确实实现了理解上的飞跃，我们还可以开始看到这些相同的模式如何以与讲故事无关的各种方式在塑造我们的思维和生活中发挥重要作用。事实上，我们讲故事的能力的真正意义是双重的。首先，它为人性的内在动力提供了一面独特的镜子。但其次，通过揭示我们看待世界的方式背后的无意识基础，这反过来可以为历史、政治、宗教、哲学以及人类思想和行为的几乎所有方面提供非凡的启示。它为人性的内在动力提供了一面独特的镜子。但其次，通过揭示我们看待世界的方式背后的无意识基础，这反过来可以为历史、政治、宗教、哲学以及人类思想和行为的几乎所有方面提供非凡的启示。它为人性的内在动力提供了一面独特的镜子。但其次，通过揭示我们看待世界的方式背后的无意识基础，这反过来可以为历史、政治、宗教、哲学以及人类思想和行为的几乎所有方面提供非凡的启示。
It is true the relationship between storytelling and real life may not be immediately obvious. But this may be because we are missing the point of what stories really represent. And the main reason for this is that the only instrument we can use to disentangle the true nature of our ability to imagine stories is that from which they originate in the first place, the human psyche. The problem is that the archetypal patterns and laws which shape storytelling are so deeply embedded in our unconscious that our conscious mind finds it hard to recognise them. So instinctive is it to us that stories should take shape in certain ways that we find it almost impossible to stand sufficiently apart from them to ask why this should be so; why, for instance, they should take these forms and not others. Yet once we do manage to make this leap of understanding, we can also begin to see how these same patterns play a huge part in shaping our thinking and our lives in all sorts of ways which have nothing to do with storytelling. Indeed, the real significance of our ability to tell stories is twofold. Firstly, it provides a uniquely revealing mirror to the inner dynamics of human nature. But secondly, by laying bare the unconscious foundations which underlie so much of the way we view the world, this can in turn cast an extraordinarily revealing light on history, politics, religion, philosophy and almost every aspect of human thought and behaviour.
杰克与魔豆：马克思主义和弗洛伊德版本
Jack and the Beanstalk: The Marxist and Freudian versions
我对为什么要讲故事产生兴趣的起点之一是 20 世纪 60 年代初一家美国剧院公司在伦敦上演的一部滑稽剧小品。它展示了在美国中部小镇召开的一次会议，讨论当地图书馆书架上的《杰克与魔豆》副本是一本“颠覆性书籍”并应被禁止的投诉。为了讨论这个问题，女主席邀请了两位教授，一位是马克思主义者，一位是弗洛伊德主义者。《马克思主义者》解释说，《杰克与魔豆》这确实是一本政治小册子，不亚于“世界革命的蓝图”。作为后封建社会中受压迫的农村无产阶级的典型成员，杰克和他的母亲陷入了贫困，最终被迫卖掉了他们唯一的资产——牛。他们唯一可以出售的地方是自由市场，而自由市场不可避免地被富人用来剥削穷人。当然，杰克得到的回报只是一把毫无价值的豆子。但这些剥削的象征成长为“工人运动的强大豆茎”；当杰克爬到顶峰时，他发现的除了“国际垄断资本主义”的邪恶巨人之外还有什么。最终他发起了革命性的打击，推翻了暴政。无产阶级赢得了这一光荣的胜利，
One of the starting points for my own interest in why we tell stories was a revue sketch staged in London by an American theatre company in the early 1960s. It showed a meeting which had been called in a small middle-American town to discuss a complaint that the copy of Jack and the Beanstalk on the shelves of the local library was a ‘subversive book’ and should be banned. To discuss this the lady chairman has invited along two professors, a Marxist and a Freudian. The Marxist explains that Jack and the Beanstalk is indeed a political tract, nothing less than ‘a blueprint for world revolution’. As typical members of the downtrodden rural proletariat in a post-feudal society, Jack and his mother are reduced to such poverty that they are finally forced in desperation to sell the only asset they possess, their cow. The only place they can sell it is on the free market, inevitably used by the rich to exploit the poor. Naturally all Jack gets in return is a worthless handful of beans. But these symbols of their exploitation grow up into ‘the mighty beanstalk of the workers’ movement’; and when Jack climbs to the top, what does he find but the wicked giant of ‘international monopoly capitalism’. Eventually he strikes the revolutionary blow which brings the tyranny crashing down. Having won this glorious victory, the proletariat, represented by Jack and his mother, win the right to live happily ever after.
当这篇论文正在进行时，弗洛伊德主义者不耐烦地打断他，坚持认为这只是幼稚的胡言乱语。杰克与魔豆的真正含义是的，它只不过是“一个小男孩性觉醒的简单而感人的故事”。像任何小男孩一样，杰克与世界上最亲近的人——他的母亲住在一起。但总有一天，他必须摆脱最初婴儿时期对母亲的依赖状态，以产奶的牛为象征。就在这时，他发现自己手中有豆子，“精髓”，从豆子中，在他面前升起了“这种刺痛的、巨大的、高耸的……”。“是啊——”，主席女士急忙插话道。弗洛伊德主义者继续说，沿着这个象征着他觉醒的男子气概的象征，杰克在顶部发现的除了“父亲的非投射幻想形象”之外还有什么。“父亲”自然拒绝这种对他男性权威的挑战，并试图把他赶回豆茎上。
While this dissertation is proceeding, the Freudian impatiently interrupts to insist that this is just childish hooey. The true meaning of Jack and the Beanstalk is that it is no more than ‘the simple, rather touching story of a young boy’s sexual awakening’. Like any small boy, Jack lives with the person who is closest to him in the world, his mother. But the day comes when he must move on from his initial state of infantile dependence on mother, symbolised by the milk-giving cow. This is when he discovers that he has in his hand beans, ‘seminal essences’, from which there rises up in front of him ‘this thrusting, enormous, towering ...’. ‘Ye-a-a-s’, hastily interjects the lady chairman. Climbing up this symbol of his awakening manhood, the Freudian continues, what does Jack find at the top but the ‘non-improjected fantasy image of Father’. ‘Father’ naturally rejects this challenge to his masculine authority and tries to drive him back down the beanstalk. But eventually our hero hits back by grabbing an axe to eliminate ‘Father’, so that, in line with his Oedipal urge, he can return to live with mother happily ever after.
这位女士主席对这两种相互对立的解释的力量越来越感到困惑，她总结道，多亏了两位演讲者，我们现在都意识到《杰克与魔豆》不仅具有颠覆性。它也很脏，绝对应该从我们图书馆的书架上撤下来。” 1
Increasingly bemused by the force of the two rival interpretations, the lady chairman sums up by telling the audience that, thanks to their two speakers, ‘we now all realise that Jack and the Beanstalk is not only subversive. It is also very dirty, and should definitely be taken off our library shelves’.1
显然，这个草图的惊人之处在于它如何在杰克和魔豆的故事与二十世纪两个最有影响力的思想体系之间呈现出如此惊人的对应关系。但是，当我观看草图时，我想到这些巧合是否可能有一些更深层次的原因？我们思考世界的方式背后是否存在某种基本结构，可以解释马克思对社会的分析、弗洛伊德心理学和一个有数百年历史的民间故事之间看似显着的重叠？事实上，我们现在可以看到，存在一个原型结构他们全部。就这真正意味着什么而言，就人类心理学而言，我们可以看到“弗洛伊德的解释”尽管有其不足之处，但实际上比马克思主义者的解释更接近这个故事的真正潜在含义。杰克的故事确实植根于讲故事的核心模式，展示了一个年轻人成长为成熟的模式。然而，弗洛伊德的解释开始出现缺陷，因为它无法认识到巨人/黑暗之父的真实本质，因为代表了年轻英雄最终必须成为的光明之父的负面版本。由于弗洛伊德心理学对性的关注极其狭隘，因此无法对杰克从巨人那里获得的宝藏提供任何正确的解释。
Obviously what was striking about this sketch was how it brought out such a startling correspondence between the story of Jack and the Beanstalk and two of the most influential thought-systems of the twentieth century. But was it possible, I reflected as I watched the sketch, that there might be some deeper reason for these coincidences? Might there be some fundamental structure underlying the way we think about the world which could account for this seemingly remarkable overlap between Marx’s analysis of society, Freudian psychology and a centuries-old folk tale? Indeed we can now see that there is an archetypal structure underlying all of them. And in terms of what this really signifies, in terms of human psychology, we can see how the ‘Freudian interpretation’, for all its inadequacies, does in fact gets rather closer than the Marxist’s to the true underlying meaning of the tale. The story of Jack is indeed rooted in that pattern central to storytelling, showing the pattern of a young man’s growing up to maturity. Where the Freudian interpretation begins to fall short, however, is in its inability to recognise the true nature of the giant/Dark Father, as representing the negative version of the Light Father the young hero must eventually become. With its distortingly narrow focus on sexuality, Freudian psychology cannot then offer any proper explanation of the treasures Jack wins from the giant. And although the Freudians may get very excited by the fact that Jack returns at the end to live with mother, they cannot see that the tale ends like this only because it is a version of the archetypal story intended to be told to very young children.
矛盾的是，事实上更有趣的是这个原型故事如此巧妙地适合马克思主义解释。这不仅仅是因为它可以向我们展示马克思主义社会观的心理基础。更重要的是，它提出了一个更广泛的问题：讲故事所揭示的原型结构如何帮助我们理解任何人类社会的运作方式，以及它们如何塑造我们看待周围世界的一些最基本的方式。这是因为，我们一直在用故事来看待世界，这在很大程度上超出了我们的意识。它们是我们构建对周围世界的描述的最自然的方式。我们自然地将自己的生活视为一个故事，就像我们对待其他人的生活一样，每个片段都由无数大大小小的从属情节组成。通过媒体，我们将公共生活的盛况视为一个连续不断的故事万花筒，充满“黑暗”人物和“光明”、幸福和不幸的结局。
Paradoxically, what is in fact rather more interesting is the way this archetypal story lends itself so neatly to a Marxist interpretation. This is not just because it can show us the psychological foundations which underlie the Marxist view of society. More significantly it opens up the much wider question of how the archetypal structures revealed by storytelling can help us to understand the workings of any human society, and how they shape some of the most fundamental ways in which we view the world around us. This is because, to a far greater degree than we are consciously aware, we look at the world in terms of stories all the time. They are the most natural way in which we structure our descriptions of the world around us. We naturally see our own life as a story, as we do those of others, each made up of an infinite number of subordinate episodes, large and small. Through the media, we view the pageant of public life as a continual kaleidoscope of stories, complete with ‘dark’ figures and ‘light’, happy and unhappy endings.
当然，马克思主义者像任何理论家一样，用一个基本故事来解释世界是如何运作的：这个故事可以告诉他谁是恶棍，谁是英雄，他希望情节如何结束。但在很大程度上，无论我们的观点如何，对我们所有人来说都是如此。没有什么比无意识的模式更能清楚地看到这一点了，这些模式不仅影响着我们如何“解读”政治和历史事件，还影响着这些戏剧本身的上演方式。
Certainly the Marxist, like any ideologue, interprets how the world works in terms of a basic story: one which can tell him who are the villains, who the heroes, how he would like the plot to end up. But to a great extent, irrespective of our point of view, the same is true for all of us. And nowhere can we see this more clearly than in the unconscious patterns which shape not only how we ‘read’ the events of politics and history, but how these dramas themselves are acted out.
线上方/线下方：右翼/左翼
Above the line/below the line: right wing/left wing
除了英雄或女英雄之外，故事通常向我们呈现一群人的画面——一个家庭、一个社区、一个王国——这提供了故事背景的想象世界的焦点。在故事的大部分时间里，这个“小世界”或“王国”可能会以某种方式被分割。但如果故事有一个美好的结局，我们就会看到它以某种方式回归统一。而且，正如我们所看到的，这种重新整合发生所必需的条件与个体人类心理的整合模式之间存在密切的对应关系。
Apart from a hero or heroine, stories usually present us with the picture of a group of people – a household, a community, a kingdom – which provides the focus of the imaginary world in which the story is set. During much of the story this ‘little world’ or ‘kingdom’ may in some way be divided. But if the story comes to a happy ending we see it in some way being brought back to unity. And, as we have seen, there is a close correspondence between the conditions which are necessary for this reintegration to take place and the pattern of integration in the individual human psyche.
在任何一个已经达到个人成熟的人身上，我们都会看到这如何将性格的力量和有序思考的能力与无私的感觉以及客观和整体的直觉能力结合起来。同样，在决议中在一个美好结局的故事中，我们看到这些相同的基本价值观被汇集在一起，在更广泛的社区中创造了“整体”的形象。当黑暗让位于光明时，我们就会看到家庭、社区或王国中的权力再次得到正确和明智的运用。秩序恢复了，一切、每个人都回到了原来的位置。爱与和解占上风。那些被隐藏的东西已经大白于天下，因此，随着“无知让位于知识”，一切事物和每个人最终都可以清楚地看到它们的本来面目。
In anyone who has achieved personal maturity, we see how this combines strength of character and the capacity for ordered thinking with selfless feeling and the intuitive ability to see objectively and whole. Similarly, in the resolution of a story which comes to a happy ending we see these same essential values being brought together to create an image of ‘wholeness’ in the wider community. As darkness gives way to light, so we see power in that household, community or kingdom once again being exercised properly and wisely. Order is restored, so that everything and everyone are back in their proper place. Love and reconciliation prevail. That which was hidden has come to light so that, as ‘ignorance gives way to knowledge’, everything and everyone can at last be seen clearly for what they are.
这种特殊的价值观组合的意义不仅仅局限于讲故事的想象世界。它同样为现实世界中任何社会群体的运作提供了一个理想的模型。每个人类集体，无论是一个国家、一个家庭还是任何其他类型的组织，根据定义都是等级制的。一个或多个人物——君主、部落首领、总统、总理、主席、将军、父亲、母亲——处于权力地位，扮演领导者的角色，行使权力。当这种权威得到正确运用，将男性价值观与女性价值观、坚定性和秩序与情感和理解结合起来时，社区本身就会保持团结。但是，当当权者未能正确行使权力时，我们看到的是社区以熟悉的方式分裂成两个层面，
The significance of this particular combination of values is not just limited to the imaginary world of storytelling. It equally provides an ideal model for the workings of any social grouping in the real world. Every human collectivity, whether it be a nation, a family or any other type of organisation, is by definition hierarchical. One or more figures – a monarch, a tribal leader, a president, a prime minister, a chairman, a general, a father, a mother – are in a position of power, playing the role of leader, exercising authority. When that authority is exercised properly, combining masculine with feminine values, firmness and order united with feeling and understanding, the community itself remains united. But when those in authority fail to exercise power properly what we see is that the community splits in familiar fashion onto two levels, ‘above’ and ‘below the line’.
事实上，上层权力被滥用的事实无一例外地意味着权力在某种程度上被自私和盲目地行使。要么使用过度、压迫性的，要么使用软弱、不充分的。正如故事中一样，这种滥用权力的行为不可避免地会给底层人士蒙上阴影。正是在这里，在那些处于阴影中的人中，人们可以最清楚地看到他们是如何被错误统治的，以及那些“上线”的人如何缺少男性和女性品质的平衡，而这种平衡对于正义和明智来说至关重要。治理。
The fact that on the upper level power is being misused invariably means that it is in some way being exercised selfishly and blindly. Either it is being applied excessively and oppressively, or it is being used weakly and inadequately. Just as in stories, this abuse of power inevitably casts a shadow over those below the line. And it is here, among those in the shadows, that people can see most clearly how they are being misruled, and how what is missing in those ‘above the line’ is that balance of masculine and feminine qualities which are essential to just and wise governance.
这构成了历史上几乎每个社会的核心政治断层线。每个社会都是由统治者和被统治者、统治者和被统治者组成的，显然，人类历史的很大一部分是由两者之间的紧张关系和潜在冲突书写的。站在这条线之上的是那些希望通过恐惧和武力来保住并扩大权力的人：如果他们是独裁者或绝对统治者。来自底线以下的持续压力，要求限制权力并使统治者承担责任，这不仅催生了宪政、议会民主和法治，而且催生了历史上所有的革命和独立战争。
This constitutes what has been the central political fault line in almost every society throughout history. Every society is made up of rulers and ruled, those who govern and those who are governed, and obviously an immense part of human history has been written in the tension and potential conflict between the two. Above the line have been those who wished to hold onto and extend their power: if they were dictators or absolute rulers, through fear and force. From below the line has come a constant pressure to restrain that power and to make the rulers accountable, which has given rise not just to constitutional government, parliamentary democracy and the rule of law but also to all the revolutions and wars of independence in history.
第一个认识到塑造政治行为的无意识原型的思想家是柏拉图，他在《理想国》第八卷中提出了这一点。他分析了社会从君主制开始的一个周期的演变趋势，君主制是一个领导人的统治，也是所有人民的父亲形象，即国王。但这最终会导致他的下属施加压力，限制他的权力，而由少数富人和有权势的人组成的统治阶级的出现，导致了周期的第二阶段，寡头政治，这反过来又带来了压力自下而上，以实现更广泛的权力分散，人民以自由的名义要求有权参与制定他们的法律并呼吁他们的权利政府来算账。第三阶段是民主。但正如柏拉图所描述的那样，这个循环并不止于此。对自由的信仰变得越来越痴迷，尤其影响到所有仍然被视为“线下”和受压迫的人。女性反抗自己作为妻子和母亲的角色；奴隶对抗他们的主人；孩子们反对父母和老师。人们甚至应该尊重动物的“权利”。社会日益混乱，各种自上而下的统治都声名狼藉，最终为周期的最后阶段——暴政——带来了压力：一个人再次强加自己的权力，为一个面临解体危险的社会恢复秩序。
The first thinker who discerned what amounted to an unconscious archetype shaping political behaviour was Plato in Book VIII of his Republic. He analysed the tendency of societies to evolve through a cycle which begins with Monarchy, the rule of one leader and father-figure to all his people, the king. But this eventually leads to pressure from those immediately below him to restrain his power, and this emergence of a ruling class made up of a few rich and powerful individuals leads on to the second stage of the cycle, Oligarchy, This in turn leads to pressure from below them for a much wider dispersal of power, where in the name of liberty the people demand the right to participate in framing their laws and calling their government to account. This third stage is Democracy. But the cycle, as Plato described it, does not stop there. The belief in liberty becomes increasingly obsessive, particularly affecting all those who can still be viewed as ‘below the line’ and oppressed. Women rebel against their roles as wives and mothers; slaves against their masters; children against parents and teachers. People are even expected to respect the ‘rights’ of animals. The growing disorder of a society in which every kind of rule from above has fallen into disrepute eventually creates pressure for the final phase of the cycle, Tyranny: where again one man imposes his power, to restore order to a society in danger of disintegrating.
从心理学的角度来看，正是这条长期存在的断层线有助于解释政治中“右派”和“左派”之间的根本对立。右翼观点主要基于男性价值观，以行使权力和维护秩序为中心；所谓“父亲”的价值观。这本质上是保守的，因为它相信维护社会的既定结构和制度。它支持那些它认为将社会团结在一起的价值观：民族国家的象征、传统、爱国主义、传统道德、家庭、纪律、需要力量来保卫现有秩序免受外部和内部敌人的侵害。左翼本质上依赖于情感和理解的女性价值观，即所谓的“母亲”价值观，它认为统治秩序和右翼观点总体上是无情的缺陷。它谈论自由、同情心和平等。它抗议压迫和制度的不公正。它宣称需要提升所有被社会置于“底层”的人，包括工人、任何被视为被剥削或弱势的人。它不希望保留它认为腐败和不公正的等级秩序。它相信变革和未来社会更加公平和更加关爱的愿景；每个人都可以有平等的机会；它不受狭隘排他性民族主义的束缚，而是将全人类视为一体。它宣称需要提升所有被社会置于“底层”的人，包括工人、任何被视为被剥削或弱势的人。它不希望保留它认为腐败和不公正的等级秩序。它相信变革和未来社会更加公平和更加关爱的愿景；每个人都可以有平等的机会；它不受狭隘排他性民族主义的束缚，而是将全人类视为一体。它宣称需要提升所有被社会置于“底层”的人，包括工人、任何被视为被剥削或弱势的人。它不希望保留它认为腐败和不公正的等级秩序。它相信变革和未来社会更加公平和更加关爱的愿景；每个人都可以有平等的机会；它不受狭隘排他性民族主义的束缚，而是将全人类视为一体。它相信变革和未来社会更加公平和更加关爱的愿景；每个人都可以有平等的机会；它不受狭隘排他性民族主义的束缚，而是将全人类视为一体。它相信变革和未来社会更加公平和更加关爱的愿景；每个人都可以有平等的机会；它不受狭隘排他性民族主义的束缚，而是将全人类视为一体。2
In psychological terms it is this same perennial fault line which helps explain that fundamental opposition in politics between ‘right’ and ‘left’. The right wing view rests chiefly on the masculine values, centred on the exercise of power and the maintenance of order; what may be called the values of ‘Father’. This is innately conservative because it believes in upholding the established structures and institutions of society. It supports those values which it sees as holding society together: the symbols of the nation state, tradition, patriotism, conventional morality, the family, discipline, the need for strength to defend the existing order against its external and internal enemies. The left wing rests essentially on the feminine values of feeling and understanding, what may be called the values of ‘Mother’, in which it perceives the ruling order and the right-wing view in general to be so heartlessly deficient. It talks about liberty, compassion and equality. It protests against oppression and the injustices of the system. It proclaims the need to raise up all those whom society places ‘below the line’, the workers, anyone who can be seen as exploited or as underdogs. It does not wish to preserve a hierarchical order which it sees as corrupt and unjust. It believes in change and the vision of a future society which is fairer and more caring; in which everyone can have an equal chance; which is not bound by narrow exclusive nationalism but sees all humanity as one.2
我们在人们的政治观点多年来往往发生变化的方式中看到了“父亲”和“母亲”价值观之间的同样的区别：遵循休伊·朗（Huey Long）格言所概括的模式的普遍人类倾向，一次性的路易斯安那州州长表示，“每个人的政治生涯都像一本书一样，从左到右读起来”。当人们年轻、不稳定、刚刚踏上人生阶梯时，他们更倾向于采取“女性化”、“线下”的观点；保持理想主义，深刻感受到世界的不公正，反抗他们所认为的纪律约束、既定惯例和“父亲”的严厉价值观。随着年龄的增长和成熟，他们自己变得更加成熟，对世界的经验也越来越多，他们倾向于采取更男性化的、“超越界限”的观点。在他们看来，理想主义让位于现实主义。他们开始欣赏纪律、传统和秩序的保守价值观。他们终于看到“父亲”的这些价值观的意义（尤其是因为他们很可能已经经历过作为父母的教育经历）。正是人们心理视角中发生的这种熟悉的转变，催生了萧伯纳的著名格言：“二十岁不社会主义者无心，四十岁不保守者无头脑”。3
We see this same division between the values of ‘Father’ and ‘Mother’ in the way people’s political views tend to change over the years: that general human tendency to follow the pattern summed up in the maxim of Huey Long, the one-time governor of Louisiana, that ‘every man’s political career reads like a book, from left to right’. When people are young, unsettled, just starting on the ladder of life, they are more inclined to take a ‘feminine’, ‘below the line’ view; to be idealistic, to feel deeply the injustices of the world, to rebel against what they see as the constraints of discipline, established convention and the stern values of ‘Father’. When, as they grow older and more mature, they themselves become more established, with more experience of the world, they are inclined to take a more masculine, ‘above the line’ view. Idealism gives way, as they would see it, to realism. They come to appreciate the conservative values of discipline, tradition and order. They at last see the point of those values of ‘Father’ (not least because they may well have been through the educative experience of being a parent themselves). It was this familiar shift taking place in people’s psychic perspective which gave rise to Bernard Shaw’s famous dictum that ‘anyone who is not a socialist at twenty has no heart, anyone who is not a conservative at forty has no head’.3
当然，从心理学角度来说，这两种相反的观点只不过是同一整体的两半。为了构成整体的原型，即自我，每个人都需要彼此的平衡。人们的政治观点越是片面，他们就越有可能以讽刺的方式看待另一面。右翼分子将左派视为“危险的无政府主义者”、“疯狂的布尔什维克”、“热血沸腾的自由主义者”，他们的目的是破坏所有社会秩序。左翼分子将右翼视为“恶毒的暴君”、“种族主义反动派”、“法西斯猪”，他们唯一关心的是压迫手无寸铁的弱势群体。这并不是说双方的观点都没有道理。但由于根据定义，这种分裂会激发人类的自我，因此每一方最终都会将自己片面的阴影投射到另一方身上。
In psychological terms, of course, these two opposing views are simply the two halves of the same whole. To make up the archetype of totality, the Self, each needs the balance of the other. And the more one-sided people’s political view becomes, the more they are likely to see the other side in terms of caricature. The right-winger sees the left as ‘dangerous anarchists’, ‘raving Bolsheviks’, ‘bleeding heart liberals’, out to destroy all social order. The left-winger sees the right as ‘vicious tyrants’, ‘racist reactionaries’, ‘Fascist pigs’, whose only concern is to oppress the defenceless and underprivileged. This is not to say that each side may not have justification for its view. But because by definition this kind of division arouses the human ego, each side tends to end up projecting the shadow of its own one-sidedness onto the other. This is why nothing is commoner in political conflict than ‘the fallacy of the half-truth’, whereby politicians finds it much easier to identify the weaknesses in the position of their opponents than to recognise the deficiencies in their own.
原型版本中发生的情况是，它表明了双方以某种方式达成和解所必需的。那些在线以上行使权力的人的自我中心和盲目性通过他们对线下权力所代表的无私价值观的认可而得到了弥补。整个社区因此可以团结起来。根据原型模式，这可能是应该发生的事情。现实世界中更有可能发生的情况是双方仍然陷入冲突。线上线下的人继续滥用权力；在极端情况下，这最终可能会激起底层人民的梦想：奋起反抗，试图用武力推翻压迫者的权力。这是因为，在现实世界中，线下的人并不一定只是无私救赎价值观的体现，就像他们在故事里一样。他们很可能会像那些线上线下的人一样受到集体利己主义的影响。无论他们对真理、正义和同情心的要求最初是多么真诚和合理，这些可能不再是完全无私和绝对的。在变得政治化的同时，他们也变得多愁善感，被集体自我劫持，以证明其对权力的追求是正当的。
What happens in the archetypal version is that it shows what is necessary for the two sides to become in some way reconciled. The egocentricity and blindness of those exercising power above the line is redeemed by their recognition of the selfless values represented by those below the line. The whole community can thus be brought together in unity. This may, according to the archetypal pattern, be what ought to happen. What in the real world is more likely to happen is that the two sides remain locked in conflict. Those above the line continue to abuse their power; and in extreme cases this may eventually provoke in those below the line a dream of rising up in an attempt to overthrow the power of their oppressors by force. This is because, in the real world, those below the line are not necessarily just embodiments of the selfless redeeming values, as they are in a story. They may well become just as much possessed by collective egotism as those above the line. However genuine and justified their demands for truth, justice and compassion may originally have been, these may no longer be entirely selfless and absolute. In becoming politicised they have also become sentimentalised, hi-jacked by the collective ego to justify its drive to power.
正是在这里，我们看到了乌托邦革命思维的出现，就像马克思主义一样，它认为现有的权力结构是如此压迫和腐败，以至于无法挽救。它必须被完全拆除并换上新的。在他们的幻想中，革命者受到自我愿景的驱动，这是一个新的秩序，在这个秩序中，社会可以以完美的形式重塑和重新整合，权力可以公正而明智地行使，造福所有人。事实上，这种自我愿景已经被集体化的自我所取代。所有那些无论出于何种原因不能认同这一愿景的人都必须作为“人民的敌人”被镇压和消灭。
It is here we see the emergence of that Utopian revolutionary mindset, as in Marxism, which comes to see the existing power structure as so oppressive and corrupt that it is beyond redemption. It must be torn down altogether and replaced by a new one. In their fantasies the revolutionaries become driven by a projected vision of the Self, a new order in which society can be remade and reintegrated in a perfect form, where power can be exercised justly and wisely to the benefit of all. In reality this vision of the Self has been taken over by the collectivised ego. All those who, for whatever reason, cannot subscribe to this vision must be crushed and eliminated, as ‘enemies of the people’.
因此，我们看到了那种熟悉的“黑暗倒置”的出现，以创造理想国家、为社会被剥夺者带来正义和自由的名义，一种极权主义的新秩序出现了，它比它所取代的秩序更加残酷和压迫。所发生的情况是，线下的力量，有意识地受到女性价值观的驱动，已经无意识地被男性对权力和控制的驱动力的黑暗版本所占据，而他们对线上线下的力量感到如此不满。在这一点上，我们看到真正占据主导地位的原型是悲剧。我们明白为什么任何革命梦想都不可避免地会弄巧成拙。
Thus do we see the emergence of that familiar ‘dark inversion’ whereby, in the name of creating the ideal state, bringing justice and liberty for society’s dispossessed, a totalitarian new order emerges, much more ruthless and oppressive than that which it has replaced. What has happened is that the forces below the line, consciously motivated by the feminine values, have become unconsciously possessed by a dark version of precisely that masculine drive to power and control they so resent in those above the line. And at this point we see how the archetype which has really taken over is that of Tragedy. We see just why any revolutionary dream inevitably becomes self-defeating. Indeed it is here in the archetype of Tragedy that we can at last begin to unravel the true relationship between the unconscious patterns which shape stories and those which shape human behaviour in real life.
历史上的奇幻循环
The fantasy cycle in history
世界上许多最著名的虚构悲剧最初都是受到历史事件或现实生活中实际发生的事件的启发，这绝非偶然：莎士比亚的《凯撒大帝》、安东尼和克利奥帕特拉和理查三世、托尔斯泰的《安娜·卡列尼娜》、福楼拜的《包法利夫人》 , 司汤达的《红与黑》 , 电影《雌雄大盗》， 这仅仅是列举的一小部分。这些情节之所以如此巧妙地转化为虚构形式，是因为它们在现实生活中的展开方式（或者至少按照历史学家的描述）如此紧密地遵循悲剧原型的模式。他们这样做的原因是，这个五个阶段的悲剧循环不仅仅是人类想象力的任意构建。这是我们周围世界不断上演的一种模式，因为每当人们（无论是个人还是集体）被吸引采取基于以自我为中心的幻想的行动方针时，就会遵循这种模式。
It is no accident that so many of the world’s best-known fictional tragedies were originally inspired by historical events, or by events which actually occurred in real life: Shakespeare’s Julius Caesar, Antony and Cleopatra and Richard III, Tolstoy’s Anna Karenina, Flaubert’s Madame Bovary, Stendhal’s Le Rouge et Le Noir, the film Bonnie and Clyde, to name but a few. The reason why these episodes translated so neatly into fictional form was that the way they unfolded in real life (or at least as they were presented by historians) so closely followed the pattern of the tragic archetype. And the reason they did so was that this five-stage tragic cycle is not just an arbitrary construct of the human imagination. It is a pattern we see constantly being acted out in the world around us, because it is the pattern of what may follow whenever people, whether individually or collectively, are drawn to embark on a course of action based on ego-centred fantasy.
正如任何虚构版本一样，这可能在某种程度上基于对权力（或金钱，同一事物的一个版本）的渴望，或基于性。它可能涉及犯罪的计划或非法恋情的开始。它可能是任何涉及欺骗他人的计划或任何鲁莽的赌博。当那些拥有幻想力量的人在寻找焦点时，总会有某种形式的期待阶段。当他们发现它时，他们就会采取行动，使他们无可挽回地走上黑暗的道路。有一段时间，因为他们采取了主动，或者因为他们的所作所为未被发现，所以一切似乎都很顺利（梦想阶段）。他们似乎逃脱了惩罚。但因为他们的行为最终是基于挑战周围的现实框架，他们开始遇到困难。其他人和事件开始与他们作对（挫折阶段）。当现实逼近他们时，他们越来越不顾一切地试图保持幻想的存在，做出进一步的黑暗行为，或试图掩盖他们所做的事情（噩梦阶段）。最终，幻想与现实发生碰撞，导致他们的垮台或毁灭。
Exactly as in any fictional version, this is likely in some way to be based either on a desire for power (or money, a version of the same thing), or on sexuality. It may involve the planning of a crime or the start of an illicit love affair. It may be any scheme which involves deceiving others or any kind of reckless gamble. There will invariably be some form of Anticipation Stage when those possessed by the power of fantasy are looking for a Focus. When they find it, they commit the act which launches them irretrievably on their dark course. For a while, because they have taken the initiative or because what they are up to remains undetected, all seems to go well (Dream Stage). They seem to be getting away with it. But because what they are acting out is ultimately based on defying their surrounding framework of reality, they begin to run into difficulties. Other people and events begin to constellate against them (Frustration Stage). In an increasingly desperate attempt to keep the fantasy in being they push on, committing further dark acts, or attempting to cover up what they have done, as reality closes in on them (Nightmare Stage). Finally comes that moment when the fantasy collides with reality, bringing about their downfall or destruction.
回顾历史，我们会看到这个循环如何一次又一次地重复。我们可以从个别政客的遭遇中看到这一点，例如 1972 年尼克松总统纵容对手在水门事件的总部被盗窃。两年后，最终迫使他成为历史上第一位辞职的美国总统的原因，与其说是这种最初的“黑暗行为”，不如说是他不断否认和隐瞒自己参与的事情，从而越来越被人发现。发生了。在政治史上，我们一再看到，毁掉一个政客职业生涯的，与其说是他最初的错误，不如说是他随后试图掩盖的错误。正是掩盖真相中日益扭曲的欺骗网络，最终将他带入了噩梦舞台，导致他的暴露和垮台。4
Looking at history, we see how this cycle repeats itself again and again. We may see it in what happens to individual politicians, as when in 1972 President Nixon connived in the burglary of his opponents’ headquarters at the Watergate. What eventually forced him two years later to become the first American President in history to resign from office was not so much this original ‘dark act’ but the way he became increasingly caught out by his efforts to deny and to hide his involvement in what had happened. Repeatedly in the history of politics we see that what destroys a politician’s career is not so much his initial error as his subsequent attempts to cover it up. It is the increasingly contorted web of deceit involved in the cover-up which eventually brings him to the Nightmare Stage, leading to his exposure and downfall.4
从公元前73 年斯巴达克斯反抗罗马起义起，我们再次在每一次反对统治秩序的失败叛乱的命运中看到这种悲剧性的模式。到 1381 年的英国农民起义，从 1773 年俄罗斯的普加乔夫起义，到 1956 年的匈牙利起义，再到 1967 年切·格瓦拉试图推翻玻利维亚政府。叛逆，我们看看它是如何由五阶段模式塑造的。最初，叛乱分子赢得了如此多的支持，以至于他们梦想能够真正推翻统治政权。当这种力量聚集力量来镇压他们时，叛军经历了越来越多的挫败感，最后进入了噩梦阶段，现实逼近了他们，很明显他们的叛乱已经失败了。他们的领导人和许多追随者被杀。
Again we see this tragic pattern in the fate of every failed rebellion against a ruling order, from the revolt of Spartacus against Rome in 73 BC to the English Peasants’ Revolt of 1381, from Pugachev’s rebellion in Russia in 1773 to the Hungarian rising against the Communists in 1956 or Che Guevara’s attempt to overthrow the Bolivian Government in 1967. In each case, if we examine the course taken by such a rebellion, we see how it is shaped by the five-stage pattern. Initially the rebels win such support that they dream they can actually overthrow the ruling power. As that power gathers its forces to crush them, the rebels experience increasing frustration, Finally there is the Nightmare Stage when reality closes in on them and it is clear their rebellion has failed. Their leaders and many of their followers are killed.
在革命明显成功的地方，我们看到五阶段模式采取了不同的形式。美国历史学家克兰·布林顿 (Crane Brinton) 在其著作《革命的解剖》 (1938) 中首次分析了所谓的“革命原型”，他追溯了历史上最有影响力的三场革命（即发生在英国的革命）之间的显着相似之处。 17 世纪的法国，18 世纪末的法国，以及 1917 年之后的俄罗斯。在每种情况下，事件的进程都无意识地由我们现在看到的典型的五阶段模式决定。
Where revolutions are apparently successful, we see the five-stage pattern taking a different form. It was the American historian Crane Brinton, in his book The Anatomy of Revolution (1938), who first analysed what might be described the ‘revolutionary archetype’, as he traced the remarkable parallels between the three most influential revolutions in history, those in England in the seventeenth century, France at the end of the eighteenth century, and Russia in the years after 1917. In each case the course of events was unconsciously dictated by what we can now see was that archetypal five-stage pattern.
1789年，当法国人民以自由的名义奋起反抗路易十六和法国贵族的过度权力和特权时，出现了一个梦想舞台，当时旧秩序、旧政权似乎刚刚在他们面前瓦解。他们很快就赢得了他们所要求的所有自由。但正是由于幻想的本质，无论是在政治、性还是其他方面，它都无法达到令人满意的解决程度。一旦释放，就会无意识地被驱动提出更加极端的要求。1790 年代初的巴黎，由于承诺的乌托邦未能实现，国家的父亲形象国王仍然在位，相对温和的吉伦特派让位于更极端的雅各宾派，后者发动了一场杀戮狂欢1793 年，其标志性的中心事件是处决国王及其家人。但这只会导致恐怖，即噩梦阶段，此时革命转向自身，并开始，用一句著名的话来说，“吃掉自己的孩子”。当革命者在公共安全委员会下建立他们可怕的独裁统治时——罗伯斯庇尔称之为“自由对抗暴政的专制主义”——现在，他们自己却被越来越多的人谋杀和送上断头台。
When in 1789 the French people rose up in the name of liberty against the excessive power and privileges of Louis XVI and the French aristocracy, there was a Dream Stage when it seemed the old order, the ancien régime, was just disintegrating before them. They soon won all the liberties they were demanding. But it is in the nature of fantasy, whether in politics, sex or anything else, that it cannot reach a satisfactory point of resolution. Once unleashed, it becomes unconsciously driven to make ever more extreme demands. In Paris in the early 1790s, as the promised Utopia failed to materialise, with the king, the Father-figure of his country, still on the throne, the relatively moderate Girondins gave way to the more extreme Jacobins, who unleashed an orgy of killing, its symbolic centrepiece in 1793 being the execution of the king and his family. But this only led on to the Terror, the Nightmare Stage, when the revolution turned inward on itself and began, in the famous phrase, to ‘eat its own children’. As the revolutionaries set up their fearsome dictatorship under the Committee of Public Safety – what Robespierre called ‘the despotism of liberty against tyranny’ – it was now they themselves who were being murdered and guillotined in ever greater numbers, culminating in 1794 in the execution by his own Revolutionary Tribunal of Robespierre himself.
这是令人震惊的事件，将噩梦般的暴力爆发和五阶段循环推向了高潮。法国又陷入了一种神经疲惫和不安的平静状态，其特征还在于疯狂地追求性和其他以自我为中心的快乐（以一种新的和不同的形式释放幻想），直到最终出现了一个新的“梦想人物”，即成功的年轻人拿破仑将军。1799年，当他确立自己为国家新强人的地位时，一种新的集体幻想开始形成。新的五阶段循环已经开始。
This was the shocking event which brought the nightmarish explosion of violence and the five-stage cycle to its climax. France fell back into a state of nervous exhaustion and uneasy calm, characterised also by a frenzied pursuit of sexual and other egocentric pleasures (the unleashing of fantasy in a new and different form) until eventually a new ‘dream figure’ emerged, the successful young general Napoleon. In 1799, when he established himself as his country’s new strong man, a new collective fantasy began to take shape. A new five-stage cycle had begun.
拿破仑的幻想在 1805 年至 1812 年间达到了梦想阶段的顶峰，当时他自称为皇帝，似乎将整个欧洲都踩在了脚下。1812年，当他的幻想超出了他对俄罗斯的入侵时，这进入了挫折阶段，最终迫使他屈辱地撤退。到目前为止，在他的虚荣暴政给欧洲投下的阴影下，反补贴力量开始对他不利。这导致了接下来两年的噩梦阶段，他的军队遭受了一系列的失败，让他成为了一个无能为力的囚犯。1815年，当他逃离厄尔巴岛的流放时，“百日”构成了另一个较小的五个阶段的周期，从他欣喜若狂地穿越法国夺回王位的梦想阶段开始，到滑铁卢的噩梦达到顶峰。
The Napoleonic fantasy reached the height of its Dream Stage during the years between 1805 and 1812 when, as self-proclaimed Emperor, he seemed to have all Europe at his feet. In 1812, when his fantasies over-reached themselves in his invasion of Russia, this entered its Frustration Stage, forcing him eventually into humiliating retreat. By now, in the shadows cast over Europe by his vainglorious tyranny, countervailing forces were beginning to constellate against him. This led to the Nightmare Stage of the next two years as his armies suffered a series of defeats, leaving him a powerless prisoner. In 1815 the ‘Hundred Days’ when he escaped from exile in Elba constituted another, lesser five-stage cycle, beginning with the Dream Stage of his euphoric progress through France to reclaim his throne and culminating in his nightmare at Waterloo. Finally his fantasy-career was brought to its devastating conclusion when he was taken off to that bleak and remote islet in the South Atlantic where, six years later, broken in health and spirit, he died.
正如布林顿在他的书中所描绘的那样，我们可以看到一种非常相似的基本模式如何塑造了 1640 年代的英国和 1917 年的俄罗斯发生的革命。在每种情况下，经过漫长的预期阶段，那些在阴影中看到自己的人由于国王/父亲人物的过度权力最终站起来挑战他。在每种情况下，当现有秩序被推翻时，都会出现一个梦想阶段，此时似乎对王权进行了足够的限制并赢得了自由。但在每种情况下，革命者的要求都变得更加极端。在英国，议会力量在内战中的胜利引发了对全新政治秩序的渴望。在俄罗斯，克伦斯基的温和议会政府被列宁的布尔什维克推翻。在每一种情况下，幻想的无意识逻辑最终导致国王/父亲被谋杀，然后以自由的名义，新政权迅速演变成一种比它所取代的政权更加压迫和独裁的暴政。最终，克伦威尔英年早逝后，英国人民在一片欢呼声中欢迎他们的君主制回归。在俄罗斯，在内战的噩梦和布尔什维克独裁政权的崛起之后，列宁过早地去世了：但继任者是斯大林，在他更加黑暗的暴政下，革命将继续“吃掉自己的孩子”未来几十年。5
As Brinton traced in his book, we can see how a remarkably similar basic pattern shaped the revolutions which took place in England in the 1640s and Russia in 1917. In each case, after a long Anticipation Stage, those who saw themselves in the shadows cast by the excessive power of a King/Father-figure eventually rose up to challenge him. In each case, as the existing order was overthrown, there was a Dream Stage when it seemed as though sufficient restraints had been placed on kingly power and liberty had been won. But in each case the demands of the revolutionaries then became more extreme. In England, the victory of the parliamentary forces in the Civil War led to the desire for a completely new type of political order. In Russia, Kerensky’s moderate parliamentary government was overthrown by Lenin’s Bolsheviks. In each case the unconscious logic of the fantasy led eventually to the murder of the King/Father, and in the name of liberty the new regime then rapidly evolved into a tyranny far more oppressive and dictatorial than the one it had replaced. Eventually, after Cromwell’s premature death, the English people welcomed back their monarchy in an explosion of rejoicing. In Russia, after the nightmare of civil war and the rise of the Bolshevik dictatorship, Lenin came to a premature death: but only to be succeeded by Stalin, under whose even darker tyranny the revolution was to continue to ‘eat its own children’ for decades to come.5
现实生活中的事件如何被这种原型模式无意识地塑造的最生动的历史例子也许是二十世纪最重要的戏剧——第二次世界大战（正如我们所指出的，这并非偶然，这是为了激发人们的灵感）。虚构故事比历史上任何其他事件都多）。更具体地说，我们可以从主角阿道夫·希特勒的兴衰中看出这部戏剧的模式。
Perhaps the most vivid historical example of the way events in real life are unconsciously shaped by this archetypal pattern was that supreme defining drama of the twentieth century, the Second World War (it was no accident, as we have noted, that this was to inspire more fictional stories than any other event in history). More specifically, we can see the pattern of that drama in terms of the rise and fall of its central actor, Adolf Hitler.
如果我们把纳粹德国的兴衰视为一个典型的故事，那么希特勒的角色就是诱惑者。德国人民在第一次世界大战中惨败，其集体民族自我遭受了沉重打击，随后魏玛共和国统治下的政府多年来软弱无能，导致他们看到自己曾经自豪的军国主义国家已经沦落为一种无力和经济萧条的状态。希特勒成为了一位有远见的演说家，能够唤醒德国阴暗、充满怨恨的民族主义能量。随着 1933 年他当选为国家领导人，预期阶段找到了焦点。这开启了纳粹统治的梦想阶段，并在 20 世纪 30 年代余下的时间里不断发展。受到“梦想领袖”的启发，这种幻想对权力和秩序的男性价值观的预测充满了信心，随着它开始占领一个又一个邻国，它的胃口不断扩大。1939 年，他入侵波兰，导致其他国家首次威胁抵制他的要求，从而引发了战争。但到了 1940 年，梦想阶段达到了顶峰，当时他的军队能够几乎不受阻碍地进军丹麦、挪威、比利时、荷兰和法国。丘吉尔的出现和入侵英国计划的失败，第一次暂时遏制了他的野心。但正是希特勒梦想状态的本质，这仅仅把他的幻想点燃到了更高的高度，就像1941年他首先入侵南斯拉夫和希腊，最后在他最大的赌博中入侵苏联一样。这是为了标志着开始，接下来的两年，将进入挫折阶段。每一个幻想，因为它无法达到任何令人满意的解决方案，所以必然包含摇摆在期待和沮丧之间；幻想周期的中间阶段标志着挫败感开始超过预期的时刻。希特勒进军俄罗斯的最初欣喜（以及他消灭犹太人和其他“线下”非人的行动中一个新的、更加凶残的阶段的开始））随着俄罗斯第一个冬天的挫折和美国的参战而成功。随后，1942 年夏天，他的军队在俄罗斯和北非取得了更加惊人的进展。那个秋天和冬天，他在斯大林格勒和阿拉曼的第一次真正的毁灭性逆转中取得了成功。再次，正如我们在许多故事中看到的那样，外部势力最终聚集在一起，严重反对这位黑暗的中心人物，到了 1943 年夏天，随着他在库尔斯克的最后一次伟大的俄罗斯攻势的失败，恰逢盟军入侵西西里岛、他的潜艇在大西洋上的大规模沉没以及盟军轰炸机舰队对德国本土城市发动的日夜攻击，希特勒的梦想正在进入噩梦阶段。到了1944年夏秋两季，麦克白或理查三世：一只走投无路的老鼠。1945 年，戏剧的最后一幕迎来了典型的结局，在他伟大的欧洲帝国曾经的首都的废墟中，他像他之前的许多悲剧中心人物一样结束了自己的生命。
If we look at the rise and fall of Nazi Germany as an archetypal story, then the role of Hitler is that of a Tempter. The blow the German people had suffered to their collective national ego through their humiliating defeat in the First World War, followed by years of weak, unmasculine government under the Weimar Republic, led them to see their once proud, militaristic nation as having been reduced to a state of impotence and economic depression. Hitler emerged as the visionary and orator who could awaken Germany’s dark, resentful nationalist energies. With his election as leader of the nation in 1933, the Anticipation Stage found its Focus. This launched the Dream Stage of Nazi rule which was to develop through the rest of the 1930s. Inspired by its ‘dream leader’, the fantasy grew in confidence round projections of the masculine values of power and order, constantly extending its appetites as it began to take over one neighbouring country after another. When in 1939 his invasion of Poland led other countries for the first time to threaten resistance to his demands, this led to war. But in 1940 the Dream Stage reached its height, when his armies were able to march into Denmark, Norway, Belgium, Holland and France almost unopposed. A first momentary check on his ambitions was the emergence of Churchill and the failure of his plan to invade England. But it was in the nature of Hitler’s dream-state that this merely fired up his fantasy to yet greater heights, as when in 1941 he invaded, firstly, Yugoslavia and Greece, and finally, in his greatest gamble of all, the Soviet Union. This was to mark the onset, over the next two years, of the Frustration Stage. Every fantasy, because it cannot reach any satisfactory resolution, must consist of swings between anticipation and frustration; and the middle phase of the fantasy cycle marks that moment when frustration begins to outweigh anticipation. The initial euphoria of Hitler’s advance into Russia (and the start of a new, more murderous phase in his drive to exterminate the Jews and other ‘below the line’ unter-menschen) was succeeded by the setback of the first Russian winter and the entry into the war of the United States. This was followed by the even more breathtaking advances of his armies in the summer of 1942, both in Russia and North Africa; succeeded in that autumn and winter by his first really crushing reverses at Stalingrad and El Alamein. Again, as we see in so many stories, external forces were at last constellating in serious opposition to the dark central figure, and by the summer of 1943, with the defeat of his last great Russian offensive at Kursk, coinciding with the allied invasion of Sicily, the mass-sinking of his U-boats in the Atlantic and the unleashing of day-and-night assault by allied bomber fleets on the cities of Germany itself, Hitler’s dream was moving into its Nightmare Stage. By the summer and autumn of 1944, with enemies now closing in from three sides, he was in exactly that position in which we see the hero by the end of the fourth act in a Shakespearian tragedy such as Macbeth or Richard III: a cornered rat without hope of escape. In 1945 the final act of the drama wound to its archetypal conclusion when, amid the rubble of the one-time capital of his great European empire, he, like so many central figures of Tragedy before him, took his own life.
在这一点上，对于所有那些卷入反对他的冲突的数亿人来说，现在最能塑造他们情绪的原型反应就是我们在《克服怪物》故事结尾处看到的反应。六年来，希特勒就像故事中的任何怪物一样，一直出现在他们的意识中，具有神话怪物的所有心理特征。他看上去无比强大，完全无情，极其聪明：是人性中所有扭曲和黑暗的完全化身。但现在怪物终于死了。通过男性价值观、力量、意志和组织的巨大集中，再加上同盟事业的无私精神，这种邪恶的精髓已经被克服了。最终可以看出，就像小说中的任何怪物一样，他的主要缺点，他的根本缺陷，就是他双目失明。正如他自己曾经说过的那样，他被无意识的力量所控制，成为一个“梦游者”，带领他的人民进行了一场巨大的集体虚构行为。正如原型所表明的那样，这种宇宙般的傲慢行为最终招致了其不可避免的报应。宇宙平衡已经恢复。然而，尽管人类如释重负和欣喜若狂，但这当然不是故事的结局，即使几个月后，纳粹的集体另一个自我在世界的另一边遇到了类似的人。广岛和长崎城市上空升起的蘑菇云是天敌。是一个“梦游者”，带领他的人民进行了一场巨大的集体虚构行为。正如原型所表明的那样，这种宇宙般的傲慢行为最终招致了其不可避免的报应。宇宙平衡已经恢复。然而，尽管人类如释重负和欣喜若狂，但这当然不是故事的结局，即使几个月后，纳粹的集体另一个自我在世界的另一边遇到了类似的人。广岛和长崎城市上空升起的蘑菇云是天敌。是一个“梦游者”，带领他的人民进行了一场巨大的集体虚构行为。正如原型所表明的那样，这种宇宙般的傲慢行为最终招致了其不可避免的报应。宇宙平衡已经恢复。然而，尽管人类如释重负和欣喜若狂，但这当然不是故事的结局，即使几个月后，纳粹的集体另一个自我在世界的另一边遇到了类似的人。广岛和长崎城市上空升起的蘑菇云是天敌。
At this point, for all those hundreds of millions of people who had been drawn into the conflict against him, the archetypal response which now shaped their emotions more than anything else was that which we see enacted at the end of an Overcoming the Monster story. For six years Hitler had loomed up in their consciousness just like any monster in storytelling, vested with all the psychological characteristics of a mythical monster. He had seemed invincibly powerful, utterly heartless, devilishly ingenious: the complete personification of all that is twisted and dark in human nature. Yet now at last the monster was dead. By a titanic concentration of masculine values, strength, will and organisation, reinforced by the selflessness of the allied cause, this quintessence of evil had been overcome. And ultimately it could be seen how, like any monster in fiction, his central failing, his fundamental flaw, was that he was blind. Possessed by unconscious forces, he had, as he himself once put it, been a ‘sleepwalker’, leading his people into a colossal act of collective make-believe. As the archetype dictates, this cosmic act of hubris had eventually aroused its inevitable nemesis. Cosmic balance had been restored. Yet, for all the mighty wave of relief and rejoicing which engulfed humanity, this was not of course the end of the story, even when, a few months later, the Nazis’ collective alter-ego on the other side of the world met similar nemesis in those mushroom clouds rising over the cities of Hiroshima and Nagasaki.
对于数百万在希特勒阴影下受苦受难的人来说，杀死这个怪物并没有带来我们在故事的虚构版本结尾看到的纯粹的光明胜利。对于欧洲一半的人民来说，一种暴政的结束只意味着他们落入另一种暴政的阴影之下，即斯大林的共产主义。即使对于许多西方人来说，战后的时光仍然是黯淡的，因为他们挣扎着走出废墟，度过了多年的紧缩生活。为了事实是，虽然人们很自然地把那些战争年代的事件视为生活在一个巨大的、现实生活中的战胜怪物的故事中，但这只是一个原型对外部世界的投射，而这个原型的真正本质是位于内。当然，希特勒和他的纳粹追随者是典型“怪物”所代表的一切的最高体现。6但最终，正如我们在故事中看到的那样，原型并不代表克服任何特定的外部怪物。它的内涵远不止于此，它表达了人类需要克服自私自利的原则，因为这一原则在我们每个人身上都存在。从这个意义上说，我们被提醒，讲故事中这些伟大原型的真正目的不是描述外部世界发生的事情，而是向我们展示塑造内部发生的事情的模式，在那个内在的精神领域中，我们所有的一切都来自于这个领域。行为源于外部世界。正是这一点解释了为什么我们经常给人这样的印象：故事中发生的事情与现实生活中发生的事情有很大不同：因为我们在错误的地方寻找故事真正代表的内容。这并不意味着这些嵌入我们无意识中的伟大原型模式不会影响我们看待外部世界的方式。他们一直以无数的方式这样做。但它们这样做的最明显的手段在于我们如何将它们向外投射到世界上，而忽略了它们真正的内在目的。当他们似乎永远无法完全满足我们对他们的期望时，这不可避免地会导致挫败感：导致我们认为只发生在“故事”中的事情和发生在“现实生活”中的事情是两个完全不同的事情事物。
For millions of those who had suffered under Hitler’s shadow, the slaying of the monster did not bring the unalloyed victory for light that we see at the end of a fictional version of the story. For half the peoples of Europe, the end of one tyranny meant only their falling under the advancing shadow of another, that of Stalin’s Communism. Even for many in the West, the time after the war was still bleak, as they struggled out of the ruins to live through years of austerity. For the fact was that, although it had been natural to view the events of those wartime years as like living through a gigantic, real-life Overcoming the Monster story, this had only been a projection onto the outer world of an archetype the true essence of which lies within. Certainly Hitler and his Nazi followers had been a supreme embodiment of everything the archetypal ‘monster’ represents.6 But ultimately the archetype, as we see it expressed in stories, stands not for the overcoming of any specific external monster. It runs much deeper than that, as an expression of the human need to overcome the very principle of egotism, as this operates in every one of us. In this sense, we are reminded that the real purpose of these great archetypes in storytelling is not to describe what happens in the outside world, but to show us the patterns which shape what goes on within, in that inner psychic realm from which all our behaviour in the outside world originates. It is this which explains why we so often get the impression that what happens in stories is quite different from what happens in real life: because we are looking in the wrong place for what stories really represent. This does not mean that these great archetypal patterns embedded in our unconscious do not influence how we view the outside world. They do so in countless ways all the time. But the most obvious means whereby they do so lies in how we project them outwardly onto the world, in a manner which misses their true inner purpose. And it is this which inevitably leads to frustration, when they seem never quite to fulfil the expectations we have placed on them: leading us to suppose that what only happens in ‘a story’ and what happens in ‘real life’ are two quite different things.
预测和失望
Projections and disappointments
1336年，意大利诗人彼特拉克和他的兄弟登上了普罗旺斯的旺杜山山顶。毫无疑问，许多人，包括牧羊人和其他人，以前都曾登上过山。但这是历史上第一次，登山者对自己正在做的事情有足够的自觉性来记录这一事件。从那时起，特别是在过去的两个世纪里，攀登珠穆朗玛峰等山顶，“因为它们就在那里”，已经变得司空见惯。但这是人类独特的想做的事情。除了寻找食物外，动物并没有爬上山顶的冲动，问题就出现了“人类为什么要这么做？” 为什么他们希望经常进行长途、艰苦的旅行？冒着死亡的危险，到达地球表面的任意地点，如北极和南极？显然，人类对实现这种纯粹象征性的物理目标的痴迷欲望，与我们看到的探索原型所唤起的实现单一、中心目标的压倒性强迫感之间存在相似之处。当我们读到征服珠穆朗玛峰、登陆月球或达到任何其他难以实现的物理目标的探险记述时，这个故事应该以与虚构的探索完全相同的方式吸引我们，这并非偶然，因为两者植根于相同的原型。
In 1336 the Italian poet Petrarch and his brother climbed to the summit of Mont Ventoux in Provence. Doubtless many people, shepherds and others, had ascended mountains before. But this was the first occasion in history when the climbers were sufficiently self-conscious about what they were doing to record the event. Since then, and particularly in the last two centuries, climbing to the tops of mountains such as Everest, ‘because they are there’, has become a commonplace. But it is a uniquely human thing to want to do. Animals feel no urge to reach the tops of mountains except in pursuit of food, and the question arises ‘why do human beings do it?’ Why should they wish to make long, arduous journeys, often risking death, to reach such arbitrary points on our Earth’s surface as the North and South Poles? Clearly there is a parallel between the obsessive human desire to achieve such purely symbolic physical goals and that overwhelming sense of compulsion to achieve a single, central purpose we see evoked by the archetype of the Quest. It is no accident that, when we read an account of some expedition to conquer Everest, land on the Moon or reach any other physical goal hard to attain, the story should draw us on in precisely the same way as a fictional Quest, because both are rooted in the same archetype.
我们的无意识之所以被编码成这种模式，让我们预先感觉到某个地方存在着一个意义重大的目标，需要经过漫长而艰难的旅程才能到达，因为它与我们内在的心理发展有关。探索原型所集中的目标象征着心灵“完整”的状态。然而，与任何其他原型一样，它也可以投射到外部世界。尽管那些打算攀登珠穆朗玛峰或到达北极的人可能会从实现他们的目标中获得巨大的个人满足感，但他们并没有达到编码到我们无意识中的模式真正关心的超越自我的内在目标。所发生的情况是，他们的自我已经认同了一种模式，这种模式实际上源于实现内部目标并将其投射到外部的动力。这就是大多数讲故事的原型模式无意识地影响我们在“现实世界”中的生活和思维的最明显方式的线索。
The reason why our unconscious has been coded with this pattern, preconditioning us to this sense that somewhere there is a goal of immense significance which will require a long and difficult journey to reach is that it relates to our inner psychological development. The goal on which the Quest archetype is centred symbolises the state of psychic ‘wholeness’. As with any other archetype, however, it can also be projected onto the outer world. Even though those who set out to climb Everest or reach the North Pole may derive immense personal satisfaction from achieving their goal, they have not reached that ego-transcending inner goal with which the pattern coded into our unconscious is really concerned. What has happened is that their ego has become identified with a pattern which actually originates in the drive to reach an internal goal and projected it externally. And herein lies the clue to the most obvious way in which most of the archetypal patterns of storytelling unconsciously influence our lives and thinking in the ‘real world’.
事实上，直接塑造现实世界事件的唯一原型模式正是悲剧模式。那些试图通过幻想来促进以自我为中心的欲望的人，无论是个人还是集体，确实会无意识地发现自己正在表现出导致毁灭的五阶段模式，正如我们在故事中看到的那样。从这个意义上说，小说中所呈现的模式与我们在现实生活中看到的模式之间没有区别。但《悲剧》的要点在于，它是唯一一个不关心展示其中心人物如何最终超越利己主义的原型情节。所有其他人都关心这一点，因此他们本质上关心的是英雄或女英雄内心的想法。但当原型被投射到外部时，它不可避免地成为自我的表达。结果是，它忽略了为什么这种模式首先被编程到我们的无意识中的真正根本原因。
In fact the only archetypal pattern which directly shapes events in the real world in precisely the sense the archetype intends is that of Tragedy. Those who seek to further their ego-centred desires by way of fantasy, whether individual or collective, do unconsciously find themselves acting out that five-stage pattern leading to destruction, exactly as we see in a story. In this sense there is no difference between the pattern as represented in fiction and that we see unfolding in real life. But the point about Tragedy is that it is the only archetypal plot which is not concerned with showing how its central figure or figures can eventually transcend egotism. All the others are concerned with this, and therefore they are essentially concerned with what is going inside the hero or heroine. But where an archetype is projected externally, it inevitably becomes itself an expression of the ego. The result is that it misses the real underlying point of why that pattern is programmed into our unconscious in the first place.
我们已经在克服怪物的原型中看到了这是如何运作的。现实生活中，每当有人陷入极端的自我中心时，他就不可避免地会被所有处于自我中心阴影下的人视为“怪物”。希特勒只是一个极端的例子，他被视为一个怪物，因为他表现出了典型怪物的所有心理特征。不可避免地，所有参与其中的人都将击败他所需的巨大斗争视为完全像虚构的克服怪物故事一样，当战斗最终结束时，相应地具有宇宙解放的感觉。但克服怪物原型的根本目的是表明存在于每个人类个体内部的核心内部冲突，即自我的力量和更深层次的自我之间潜在的战斗。这意味着，每当原型被投射到外部世界时，它就不再是一种理想化的模式，并且变得容易出现所有扭曲，当我们在别人身上看到怪物的所有属性时，可能会出现这种扭曲，而没有意识到我们可能会我们身上也有同样失败的种子。
We have already seen how this works in terms of the archetype of Overcoming the Monster. Whenever someone in real life becomes possessed by an extreme form of egotism, they will inevitably be seen as a ‘monster’ by all those in the shadow cast by their egotism. Hitler, as merely one extreme example, was seen as a monster because he displayed all the psychological characteristics of the archetypal monster; and inevitably the colossal struggle required to defeat him came to be seen by all those involved as precisely like the acting out of a fictional Overcoming the Monster story, with the corresponding sense of cosmic liberation when the battle was finally over. But the fundamental purpose of the Overcoming the Monster archetype is to show that central internal conflict which exists inside each human individual, the potential battle between the power of the ego and the deeper Self. And this means that whenever the archetype is projected out onto the outside world, it ceases to be an idealised pattern and becomes prone to all the distortions which can arise when we see all the properties of the monster in someone else, without recognising that we may have the seeds of those same failings in ourselves.
我们在圣经犹太民间传说中歌利亚和参孙的故事之间的对比中看到了一个生动的例子。因为我们从犹太人的角度来看非利士人的大力士歌利亚的故事，所以他被描绘成一个典型的怪物：极其强大、自夸、无情和愚蠢。他的一切都是黑暗的，因为他是对方的冠军。但接下来我们来谈谈以色列自己的大力士参孙的故事。对于他自己的人民来说，参孙只不过是一位光辉的英雄，准备牺牲自己的生命来杀死 3000 名非利士人。然而，对于非利士人来说，他似乎是一个无情而凶残的怪物。他们会看到他，就像以色列人看到非利士人自己的英雄歌利亚一样。几千年后，当二十世纪初，以色列人民面临巴勒斯坦自杀式炸弹袭击者的可怕挑战时，我们看到了这种惊人的回声。对于以色列人来说，他们只不过是无情的恐怖分子。对于巴勒斯坦人来说，他们是无私的英雄。但是，当伟大的犹太英雄参孙推倒大厅的柱子，与所有非利士人一起被压垮时，他本人不就是历史上的自杀式炸弹袭击者吗？
We saw a vivid example of this in the contrast between the stories of Goliath and Samson, as they are presented in Jewish folklore in the Bible. Because we are shown the story of Goliath, the strong man of the Philistines, from a Jewish point of view, he is presented as an archetypal monster: immensely strong, boastful, heartless and stupid. Everything about him is dark, because he is the champion of the other side. But then we come to the story of Samson, Israel’s own strong man. To his own people, Samson was seen as nothing but a shining hero, prepared to sacrifice his own life in slaying 3000 Philistines. To the Philistines, however, he would have seemed a heartless and murderous monster. They would have seen him exactly as the children of Israel saw the Philistines’ own hero Goliath. And we saw a striking echo of this thousands of years later when, at the start of the twenty-first century, the people of Israel faced a horrifying challenge from Palestinian suicide bombers. To the Israelis they were nothing but ruthless terrorists. To the Palestinians they were selfless heroes. But when the great Jewish hero Samson pulled down the pillars of the hall, to be crushed along with all those Philistines, what was he himself but the historical equivalent of a suicide bomber?
我们可以看到，克服怪物的原型在整个历史中塑造了人类对现实生活情况的反应。一个例子是英国对 1982 年阿根廷夺取福克兰群岛的反应。当英国特遣部队着手从险恶的布宜诺斯艾利斯军政府手中夺回这些岛屿时，所展开的戏剧性情节正是《战胜怪物》的故事情节。 （尽管，当英国军队穿越半个世界，在最终实现目标时面临最严峻的考验时，它也包含了任务的强大元素）。当然，从阿根廷人的角度来看，这两个月的模式完全符合幻想的五阶段循环，以噩梦和灾难结束。
We can see the Overcoming the Monster archetype shaping human responses to real-life situations all through history. One example was the British response to the Argentinian seizure of the Falklands in 1982. The pattern of the drama which unfolded as the British task force set out to wrest the islands back from the sinister Buenos Aires junta was precisely that of an Overcoming the Monster story (although, as the British forces journeyed across half the world to face their worst ordeals as they finally secured their goal, it also included a strong element of the Quest). From the Argentinians’ point of view, of course, the pattern of those two months exactly matched the five-stage cycle of a fantasy, ending in nightmare and disaster.
一个更生动的例子是西方盟国对1990年萨达姆·侯赛因占领科威特的反应。这位伊拉克领导人拥有庞大的军队、导弹和毒气，在西方人眼中被塑造成一个典型的怪物；他是伊拉克的一个国家。当盟军停止在伊拉克南部推进而不是继续攻占巴格达时，许多人感到沮丧，这正是源于他们的直觉，即这个故事没有得到适当的原型结论。当怪物仍然在他的巢穴中恶毒地沉思时，这怎么可能是一个幸福的结局呢？7
An even more vivid example was the response of the Western allies to Saddam Hussein’s seizure of Kuwait in 1990. The Iraqui leader, with his vast armies, missiles and poison gas, was built up in Western eyes as an archetypal monster; and the frustration felt by so many when the allied forces halted their advance in southern Iraq instead of driving on to take Baghdad derived precisely from their intuitive sense that the story had not been carried forward to its proper archetypal conclusion. How could this be a happy ending when the monster was left still brooding balefully in his lair?7
2001 年 9 月 11 日纽约和华盛顿恐怖袭击发生后的几周内，我们看到西方意识将奥萨马·本·拉登及其世界范围内的恐怖组织塑造成另一个典型的怪物，甚至想象他正在指挥他的谋杀行动。来自那个经典怪物的巢穴，一个洞穴。但我们也看到的是，在整个穆斯林世界和其他地方，同样的原型是如何被唤起的，将布什总统领导下的美国打造成一个同样经典的怪物，无情而盲目，利用其巨大的力量统治其他人类。从这个意义上说，两个阵营之间的对峙是相互投射的完美例子，每一方都将世界上所有的黑暗投射到对方身上。
In the weeks following the terrorist attacks on New York and Washington on 11 September 2001, we saw Western consciousness building up Osama bin Laden, with his worldwide terrorist organisation, into another archetypal monster, even to the point where he was imagined directing his murderous operations from that classic monster’s lair, a cave. But what we also saw was how, across the Moslem world and elsewhere, the same archetype was evoked to build up President Bush’s America into an equally classic monster, heartless and blind, using its colossal power to dominate the rest of mankind. And in that sense the stand-off between the two camps presented a perfect example of mutual projection, with each side projecting all the darkness in the world onto the other.
另一个原型的投射形式对我们的想象力产生了特别强大的影响，那就是白手起家。没有什么比出身名利的梦想更能吸引人类的幻想了。我们在人们长久以来的梦想中看到了这一点：中彩票奇迹般地改变了他们单调的生活，或者构思出一些可以给他们带来巨额财富的想法，或者只是从无名人群中脱颖而出，成为名人关注的焦点。
Another archetype which in its projected form exercises particularly powerful sway over our imagination is that of Rags to Riches. Few things have more consistently appealed to the fantasies of mankind than the dream of emerging from obscurity to fame and fortune. We see it in people’s perennial dream of having their humdrum lives miraculously transformed by a lottery win, or conceiving some idea which will bring them fabulous riches, or simply being plucked out from the anonymous crowd to become the focus of attention as a celebrity.
在我们的现代世界中，我们看到这种白手起家的模式不断上演，年轻男女从卑微的默默无闻中脱颖而出，成为电影明星、流行歌手、超级名模、体育英雄，受到人们的痴迷。但这个原型对我们想象力如此强大的真正原因是，就像在童话故事中一样，它展示了一个人内心转变的模式，直到他或她最终可以在荣耀中显露出自己完全的样子。 -实现自我。当灰姑娘或迪克·惠廷顿穿着精美的衣服出现在舞台中央，以标志着他们赢得了伟大的地位和财富时，我们看到的最后的外在转变只是他们如何充分实现内在潜力的外在象征。然而，当原型被向外投射时，它只不过是自我的载体，剩下的就是外部转换了。内在的转变已经被忽视了。这就是为什么我们的报纸乐于告诉我们我们这个时代现实生活中许多白手起家的英雄和女英雄的遭遇，他们显然已经获得了外部世界可以提供的所有奖品，但最终却遇到了所有的问题：酗酒、吸毒、失败的人际关系和普遍的幻灭，这些都是由于自我的引导而去追逐这样一个不真实和空洞的梦想。
In our modern world we see this Rags to Riches pattern acted out incessantly, as young men and women emerge from humble anonymity to receive obsessive adulation as film stars, pop singers, supermodels, sporting heroes. But the real reason why this archetype exercises such a hold over our imagination is that, as in a fairy tale, it shows the pattern of an individual being inwardly transformed, to the point where he or she can finally be revealed in glory as their fully-realised Self. That final outward transformation we see when Cinderella or Dick Whittington appear centre-stage in their fine clothes, to mark their winning of great position and wealth, is only an outward symbol of how they have realised their full inner potential. When the archetype comes to be projected outwardly, however, as no more than a vehicle for the ego, the external transformation is all that is left. The inner transformation has been lost sight of. This is why our newspapers delight in telling us what happens to so many of the real-life Rags to Riches heroes and heroines of our time when, having apparently attained all the prizes the outward world can offer, they end up with all the problems of drink, drugs, failed relationships and general disillusionment which result from having been led on by the ego into chasing such an unreal and hollow dream.
最不明显向外投射的情节是《航海与归来》，因为在所有原型模式中，这是最没有目的驱动力的情节。《远航与归来》故事的要点在于，他们的中心人物突然、令人不安地陷入了一个陌生的、不熟悉的世界，这一切都在他们不情愿的情况下发生在他们身上。这对自我没什么吸引力，因此缺乏其他模式的令人信服的无意识力量来接管我们的生活，尽管当我们去度假时，我们渴望投入到一个陌生世界的冒险中，但原型仍然存在。
The plot least obviously open to outward projection is Voyage and Return, because of all the archetypal patterns this is the one which has least of a purposive drive. The whole point of Voyage and Return stories is that their central figures’ sudden, disconcerting plunge into a strange, unfamiliar world happens to them without their wishing it. This has little to appeal to the ego and it therefore lacks the compelling unconscious power of the other patterns to take over our lives, although something of the archetype remains in our desire to plunge into the adventure of an unfamiliar world when we go on holiday.
然而，重生的原型肯定是一种能够对自我产生巨大的强制控制的原型，正如我们所看到的，每当人们想象他们可以以一种外在的方式逃离某种已经变得像一种生活方式的生活方式时，我们就会看到这一点。对他们来说是监狱。他们可能会想象，在没有正确理解生活不如意的原因的情况下，通过摆脱不满意的婚姻或工作，他们可以“重新开始”，这将解决他们所有的困难。他们可能会想象，如果他们以某种方式“展现新形象”或选举新政府，他们的命运可能会奇迹般地改变，仅仅是因为他们在改变外部环境，而没有找出问题的真正原因。当自我无意识地被自我原型所占有时，这种投射的力量可能会变得更具破坏性和幻灭性，这通常是因为被某些宗教或政治团体的集体自我所吸引。受害者想象他们已经经历了一些深刻的宗教或政治“转变”，并有一段时间享受以一种戏剧性的新方式看待世界的梦想舞台，确信他们已经“看到了光明”。但所有这些“自我与自我的困惑”实际上给他们带来的是自我的膨胀，而根本没有正确地发现他们个人的内在自我。
The archetype of Rebirth, however, is certainly one which can exercise an enormously compelling hold over the ego, as we see whenever people imagine that they can escape in an outward fashion from some way of life that has become like a prison to them. They may imagine that, by bailing out from an unsatisfactory marriage or job without properly understanding the reasons why their life has been unsatisfactory, they can ‘make a new start’ which will solve all their difficulties. They may imagine that if they in some way ‘project a new image’ or elect a new government their fortunes may be miraculously transformed, simply because they are changing the externals without identifying the true cause of their problems. And nowhere does the power of this projection become potentially more damaging and disillusioning than when the ego becomes unconsciously possessed by the archetype of the Self, usually as a result of being drawn into identification with the collective ego of some religious or political group. The victims imagine they have gone through some profound religious or political ‘conversion’ and for a while enjoy the Dream Stage of viewing the world in a dramatically new way, convinced they have ‘seen the light’. But all this ‘ego-Self confusion’ has really brought them is an inflation of the ego, without properly discovering their individual inner self at all.
然而，原型情节告诉我们现实世界的最重要方式不是当我们看到它们向外投射时，而是当我们回到它们的原始含义并使用它们作为理解人类行为实际上如何运作的指南时。在这方面，我们已经看到了悲剧模式如何塑造现实生活中的事件。但是，奇怪的是，我们可以从这个情节中了解到人性的运作方式，尽管它充满了荒谬和人为的惯例，但它与现实世界的关系并不比其中任何一个情节明显与现实世界相关：喜剧情节。
The most significant way in which the archetypal plots can tell us about the real world, however, is not when we see them projected outwards, but when we return to their original meaning and use them as a guide to understanding how human behaviour actually works. In this respect we have already seen something of how events in real life are shaped by the pattern of Tragedy. But, oddly enough, we can learn as much about the workings of human nature from that plot which seems, with all its absurdities and artificial conventions, less obviously related to the real world than any of them: the plot of Comedy.
人物角色
The persona
喜剧在两个特别的方面为人类行为提供了宝贵的启示，这两个方面都与它可以揭示人类心理中至关重要的因素——人格面具有关。
There are two particular respects in which Comedy sheds invaluable light on human behaviour, both relating to the light it can shed on that crucially important factor in human psychology, the persona.
如果人类的利己主义几乎是普遍存在的，并且有可能造成如此巨大的问题，那么它没有更明显地侵入我们所有人的生活的主要原因就在于它可以在多大程度上被隐藏起来。这就是我们向世界展现的社会面貌（人格面具）的目的之一，当我们用它作为一种手段，通过隐藏我们的真实感受来减轻社会压力和紧张时。在这方面，我们使用它不仅是为了为我们自己的利己主义提供一种社交上方便的伪装，也是为了向其他人隐藏我们注意到他们的利己主义的程度。
If human egotism is all-but universal and has the potential to create such immense problems, the chief reason why it is not more obviously intrusive in all our lives lies in the extent to which it can be hidden from view. This is one purpose of that social front we all put up to the world, the persona, when we use it as a device to reduce social stresses and strains by concealing our true feelings. In this respect we use it not just to provide a socially convenient disguise for our own egotism but to hide from other people the extent to which we have noticed theirs.
我们很熟悉这样的画面：当某人接到令人厌烦或不受欢迎的呼叫者的电话时可能会发生什么。对于打电话的人来说，接电话的人可能看起来很有耐心和礼貌。但对于房间里的其他人来说，他或她可能会做鬼脸或用手捂住吹嘴，以明显地表达出一种恼怒的感觉。在这个层面上，角色，即我们为他人戴上的面具，是非常宝贵的，它可以作为避免冒犯他人的手段，并且通常可以使我们更容易相互联系。在这方面，角色是我们一直使用的一种社交手段，用来抑制我们的攻击性冲动，表现出友好和善于交际，隐藏我们自己以自我为中心的程度。
We are familiar with the image of what may happen when someone is rung on the telephone by a caller who is tiresome or unwanted. Down the line to the caller, the recipient may seem the soul of patience and politeness. But to other people in the room, he or she may be grimacing or cupping a hand over the mouthpiece to make a sense of irritation only too clear. At this level, the persona, the mask we put on for other people, is invaluable, as a means to avoid giving offence and generally to make it easier for us to relate with each other. In this respect, the persona is a social device we employ all the time, to curb our impulses to aggression, to appear friendly and sociable, to conceal the extent to which we ourselves are ego-centred.
然而，在更深层次上，人们可能会更无意识地采用一个角色，然后它就变得更多是自欺欺人而不是欺骗。其他的。这是我们可以谈论某人具有“人格面具”的地方问题”，其中一项测试是当他们不在场时其他人对他们的评价。如果一个人对自己的有意识的看法与别人在背后所说的话之间存在严重差距，这很可能是因为他们受到自己性格中消极方面的影响，而他们自己却没有意识到这一点。这就是他们片面的利己主义所投下的阴影。他们周围的每个人都可以看到他们自己忽视的真相。而人类心理的这一重要特征当然在喜剧中得到了特别强烈的体现，因为这种类型的故事自古以来的吸引力很大一部分在于它如何同时向我们展示画面的两面。一方面，我们看到人物通过他们自己的形象自欺欺人地与“线外”的世界联系起来。在另一，
At a deeper level, however, people may come to adopt a persona more unconsciously, and it then becomes more a matter of self-deception than of deceiving others. This is where we can talk about someone having ‘a persona problem’, one test of which is what other people say about them when they are not present. If there is a serious gap between anyone’s conscious view of themselves and what others say behind their back, this is likely to be because they are in the grip of negative aspects of their personality of which they themselves are unconscious. Such is the shadow cast by their one-sided egotism. Everyone around them can see a truth to which they themselves are oblivious. And this crucial feature of human psychology is of course particularly strongly reflected in Comedy, because a large part of the appeal of this type of story down the ages has lain in how it simultaneously shows us both sides of the picture. On one hand we see characters self-deludingly relating to the world ‘above the line’, through their image of themselves. On the other, we the audience can see only too clearly what, behind their social mask, these people are really like.
讲故事中所有伟大的喜剧人物都被定义为这样一个事实：他们生活在一个以自我为中心的梦想世界中，然后他们突然从这个世界回到现实。我们看到“愚蠢的骑士”堂吉诃德，傲慢地幻想着他正在用生锈的长矛杀死怪物，并且不断地被他坚决常识性的侍从桑丘·潘萨带回地球。我们看到容易上当受骗的伯蒂·伍斯特（Bertie Wooster）不断地不得不通过他精明但总是机智的仆人吉夫斯（Jeeves）重新与现实世界建立联系。我们看到瑟伯饰演的沃尔特·米蒂不断陷入一个又一个的白日梦，直到每一次他都被颠簸带回现实。这就是无数电视情景喜剧的模式：充满幻想的托尼·汉考克被他精明愤世嫉俗的朋友席德·詹姆斯带到了现实世界；梅因沃林上尉，爸爸的军队，不得不被他可悲的副官威尔逊中士带到地球上；比尔科中士不断地试图用一些新的赚钱计划来智取他的上校和他的战友，但总是被抓住。巴兹尔·福尔蒂（Basil Fawlty）不断地试图保持自己作为一名高效酒店经理的形象，向他的客人假装一切都在掌控之中，而在幕后我们却清楚地看到它处于混乱之中。
All the great comic characters in storytelling are defined by the fact that they are living in an ego-centred dream world, from which they are then brought abruptly down to earth. We see the ‘foolish knight’ Don Quixote, hubristically fantasising that he is slaying monsters with his rusty lance, and constantly having to be brought back to earth by his resolutely commonsensical squire Sancho Panza. We see the gullible Bertie Wooster constantly having to be reconnected to the real world by his shrewd but ever-tactful servant Jeeves. We see Thurber’s Walter Mitty spiralling off into one daydream after another until in each case he is brought back to reality with a bump. This is the pattern of countless television situation comedies: the fanciful Tony Hancock being brought to earth by his shrewdly cynical friend Sid James; Captain Mainwaring, the Home Guard commander in Dad’s Army, having to be brought to earth by his lugubrious second-in-command, Sergeant Wilson; Sergeant Bilko constantly trying to outwit his colonel and his fellow soldiers with some new money-making scheme and invariably being caught out; Basil Fawlty, constantly trying to preserve his persona as an efficient hotel manager, pretending to his guests that everything is under control, when behind the scenes we see only too clearly it is in chaos.
在每种情况下，故事的中心笑话都是我们看到面具如何不断滑落，直到结局时中心人物的妄想最终无可挽回地暴露出来。因为喜剧的核心目的是以一种有趣的方式展现人性的两面性，所以通常没有人会受到太严重的伤害。当然，我们在悲剧中看到了以更黑暗的方式呈现的人物角色问题。正如我们在第九章“分裂的自我”中所看到的，大多数悲剧英雄和女英雄的性格中至关重要的一部分是，他们有意无意地试图向世界隐藏自己本性的阴暗面。尊重的“轻”面具。这就是《化身博士》和《海德先生》中生动体现的双面性，英雄的性格人格面具和他的影子实际上被分成了两个独立的角色。但我们可以在几乎所有悲剧的中心人物身上看到同样的分裂，即“光明”的外在形象和其背后的阴暗的自我自我之间的分裂。同样，我们可以在现实生活中看到它。
In each case the central joke of the story is the way we see how the mask keeps slipping, until the denouement when the delusions of the central figure are finally irretrievably exposed. And because the central purpose of Comedy is to show up this two-sidedness of human nature in a playful manner, no one usually ends up getting too badly hurt. Where we see the problem of the persona presented in a much darker light, of course, is in Tragedy. As we saw in Chapter Nine, ‘The Divided Self’, it is a crucial part of the make-up of most tragic heroes and heroines that, consciously or unconsciously, they try to hide the dark side of their nature from the world behind a ‘light’ mask of respectability. This is the two-sidedness so vividly personified in Dr Jekyll and Mr Hyde, where the hero’s persona and his shadow are actually split into two separate characters. But we can see the same split between the ‘light’ outward persona and the shadowy ego-self behind it in almost any of the central figures in tragedies. And equally we can see it all around us in real life.
我们每个人或多或少都有一个以自我为中心的“影子自我”，我们希望将其隐藏在公众视野之外。尽管我们可能会不断地我们在自己的头脑中意识到了这一点，因此试图用社交的面具向其他人隐藏它。但有时候，面具会滑落，比如有人发脾气，开始以一种无法控制的、以自我为中心的方式大喊大叫，或者在其他方面表现不佳，他们通常希望以一种他们通常希望躲避世界的方式被发现。
Each of us to a greater or lesser degree has an ego-centred ‘shadow self’ which we would like to keep hidden from public view. Although we may continually be aware of it in our own heads, we try to conceal it from other people behind a mask of sociability. But there are occasions when the mask slips, as when someone loses their temper and starts shouting in an uncontrollably ego-centred manner, or is in some other respect caught out acting badly, in a way they would normally wish to hide from the world.
然后我们就会看到“黑暗的自我”暴露在外，充满了毫无吸引力的恐怖。而现实生活中所有那些给自己带来灾难的悲惨境遇，其本质就是“黑暗的自我”已经占据了他们，以至于无法再隐藏。这样，喜剧和悲剧只是以不同的方式看待人性的同一方面。没有人比这两类故事的大师莎士比亚更敏锐地意识到人类心理的这一普遍特征。在《哈姆雷特》中，我们听到英雄这样评价克劳迪斯：“你可以微笑着微笑，然后成为一个恶棍”。在《威尼斯商人》中，安东尼奥谈到了“面带微笑的恶棍……哦，表面上的谎言是多么美好”。在伯里克利那里克莱昂说“谁制作出最公平的表演就意味着最多的欺骗”。
We then see the ‘dark self’ out in the open, in all its unattractive horror. And the essence of all those tragic situations in real life where people bring disaster on themselves is that their ‘dark self’ has taken them over to such a degree that it can no longer be hidden. In this way Comedy and Tragedy are merely looking in different ways at the same aspect of human nature. No one was more keenly aware of this universal feature of human psychology than that master of both types of story, Shakespeare. In Hamlet we hear the hero say of Claudius how ‘you may smile and smile and be a villain’. In The Merchant of Venice Antonio speaks of the ‘villain with a smiling cheek ... O, what a goodly outside falsehood hath’. In Pericles Cleon says ‘who makes the fairest show means most deceit’.
当然，正如在许多其他方面一样，故事只是为我们提供了一面镜子，让我们了解人性的实际运作方式。这引出了人类心理学的另一个非常重要的方面，喜剧再次提供了线索。
Here, of course, as in so many other respects, stories merely provide us with a mirror to how human nature actually works. And this leads on to another very important aspect of human psychology to which Comedy again provides the clue.
喜剧的一个反复出现的特点是它向我们展示了一群特定的人，他们的生活被一个以自我为中心的黑暗人物的存在所笼罩。因此，好色的阿尔马维瓦伯爵统治着他的家庭，嫉妒的莱昂特斯国王统治着他的宫廷，《战争与和平》中的拿破仑统治着俄罗斯，等等。他们的自我主义力量如此强大，以至于让其他人都陷入阴影，让其他人很难正确地做自己。
A recurring feature of Comedy is the way it shows us a particular group of people whose lives are shadowed by the presence in their midst of an egocentric dark figure. Thus the lecherous Count Almaviva dominates his household, the jealous King Leontes dominates his court, Napoleon in War and Peace dominates Russia, and so forth. So overpowering is the force of their egotism that it has the effect of casting everyone else into shadow, making it difficult for other people to be properly themselves.
这正是我们在现实生活中看到的效果，每当任何社会群体或组织被一个强烈自私的人格所统治时。我们可以在家庭、工作场所、村庄、街道或城镇、任何形式的社区、甚至整个国家中看到它。这些利己主义者主宰周围所有人生活的力量是巨大的。他们可能会以“黑暗男性”的方式，通过公开的欺凌和侵略，以“黑暗女性”的方式，通过狡猾的阴谋和阴谋，或者两者的结合。他们可能会得到周围一群同谋或阿谀奉承的帮助，这些人的行为就像他们自我的延伸。但他们的行为所产生的效果正如我们在许多喜剧中所看到的那样。它对处于其阴影下的每个人都施展了邪恶的咒语。它让其他人感到不安、痛苦、恐惧。这使他们很难充分发挥潜力。这浪费了他们的时间。每当我们遇到代表极端自我主义的人时，最明显的后果之一就是这给其他人的时间和精力带来了压力，因为他们试图满足自我主义者的要求或围绕他们行事，在一定程度上利己主义者自己却毫不知情。
This is precisely the effect we can see in real life whenever any social group or organisation becomes dominated by one strongly egotistical personality. We can see it in a family, a place of work, a village, street or town, any form of community, even a whole nation. The power of such egotists to dominate the lives of all those around them is enormous. They may do it in a ‘dark masculine’ way, by open bullying and aggression, in a ‘dark feminine’ way, by devious scheming and plotting, or by a combination of both. They may be aided by a group of accomplices or toadies around them, who act like extensions of their ego. But the effect of their behaviour is exactly as we see it reflected in so many comedies. It casts a malign spell on everyone in its shadow. It makes other people uneasy, miserable, fearful. It makes it hard for them to act to their full potential. And it wastes their time. Whenever we come across people who represent an extreme case of egotism, one of its most noticeable consequences is the strain this imposes on other people’s time and energy, as they try to meet the egotists’ demands or to operate around them, to an extent of which the egotists themselves are blithely unaware.
这当然是因为，这些自我主义者在被自己的自我形象所欺骗时，很大程度上是无意识的。根据定义，他们是盲目的。正如我们所指出的，他们特别忽视的事情之一是其他人在背后对他们说了什么、怎么想。他们生活在自尊心的小泡沫中，要么以为别人按照自己的表面价值来看待他们，要么不顾一切无论如何，这些人都是这么想的，因为这些人是“下线的”。因此，其他人的观点和感受并不重要。不知不觉中，利己主义者看待他周围的世界的方式与我们在喜剧中看到的完全一样。他本人（或她）是“高于界限”的，因此，对于那些他认为同样高于界限的人，在他自己的水平上，他可以礼貌、幽默、慷慨，甚至恭敬。但“线下”的其他人都可能遭到忽视、欺凌、剥削或蔑视。而他们，他的受害者，最清楚地看到他们必须面对的是一个多么盲目地以自我为中心和不成熟的人。
This is of course because, in being taken in by their own self-image, such egotists are largely unconscious. By definition they are blind. And one of the things to which they are particularly blind, as we have noted, is what other people say and think about them behind their back. They live in a little bubble of self-esteem, either imagining that others take them at their own face value or heedless of what these others think anyway, because such people are ‘below the line’. The views and feelings of these others are therefore of no account. Unconsciously, the egotist sees the world around him in exactly the terms in which we see it presented in a Comedy. He himself (or she) is ‘above the line’ and therefore, to those whom he sees as similarly above the line, on his own level, he can be polite, humorous, generous, even deferential. But everyone else, ‘below the line’, can be disregarded, bullied, exploited or treated with contempt. And it is they, his victims, who see most clearly just what a blindly self-centred and immature human being they are having to cope with.
我们都可能在自己的生活中遇到过这种自私自利的极端例子，并且很庆幸他们总体上是例外。但这种两面性的真正原因在于，它反映了每当自我意识与无私情感和客观意识的能力分离时，人性就会发生什么。在这方面，它为我们提供了一个模型，不仅适用于个人心理，也适用于人类集体心理。
We may all have come across extreme examples of this kind of egotism in our own lives and be grateful that on the whole they are exceptions. But the real reason for this type of two-facedness is that it reflects what happens to human nature whenever ego-consciousness becomes split off from the ability for selfless feeling and objective awareness. And in this respect it provides us with a model which applies not just to the psychology of individuals but also to human beings collectively.
统治意识
The ruling consciousness
自我作为我们心灵中唯一能够让我们意识到世界的部分，其真正的问题在于它的结构如此之大，以至于它的意识必须总是受到限制。无论我们如何努力消除它的扭曲并化解它与客观无意识的冲突，主观扭曲和盲目性的某些因素不可避免地仍然存在。正如这适用于个人自我意识一样，它同样适用于任何人类群体或社会中趋于发展的集体意识。当然，没有一个人类群体能够建立单一的、无差别的意识，通过这种意识，群体中的每个成员都以完全相同的方式看待世界。但在任何团体或社会中，都有可能辨别出某些普遍的观点倾向，即使该群体少数成员的观点可能与他们相冲突。人类群体会形成一种共同的认同感、共同的价值观、对他们认为真实或重要的事物的共同假设。在这方面，他们形成了集体的自我意识。
The real problem with the ego, as the only part of our psyche through which we can be conscious of the world, is that it is so structured that its awareness must always be limited. However much we may try to eliminate its distortions and to dissolve its conflict with the objective unconscious, some element of subjective distortion and blindness must inevitably remain. And just as this applies to the consciousness of the individual ego, so it equally applies to that collective consciousness which tends to develop in any human group or society. Of course no group of human beings can establish a single, undifferentiated consciousness, through which each member of the group views the world in exactly the same way. But in any group or society it is possible to discern certain prevailing tendencies of view, even if the views of a minority of members of the group may conflict with them. Groups of human beings develop a sense of common identity, shared values, shared assumptions of what they believe to be true or important. And in this respect they develop a collective ego-consciousness.
当他们沉浸在某种伟大的共同情感中时，我们可以最明显地看到这一点，例如足球比赛中人群的集体歇斯底里状态或与战争时期相关的集体团结感。但在任何群体中，都有可能辨别出所谓的主导意识状态：决定什么观点、价值观和行为在任何时候都被普遍认为是可以接受的，以及那些被认为超出了范围、被谴责为具有破坏性的观点、价值观和行为。古怪的、外星人的或疯狂的。
We see this most obviously when they are swept up in some great shared emotion, as in the collective state of hysteria which grips a crowd at a football match or the sense of collective unity associated with times of war. But in any group it is possible to discern what may be called its ruling state of consciousness: that which determines what views, values and behaviour are at any time generally considered acceptable, and those which are regarded as beyond the pale, condemned as disruptive, eccentric, alien or mad. And one has only to consider what extraordinary changes come over the state of consciousness prevailing in any society through different times in history (the dramatic variations in what is considered acceptable that we see in everything from patterns of moral behaviour to fashions in clothes) to see that there cannot be any time when the ruling consciousness is objectively right, by some absolute standard, in everything it holds to be important or true.
在主流意识与我们自己的意识相距最远的社会中，自然最容易理解这一点。直到十五、十六号例如，几个世纪以来，统治意识认为地球是平的，太阳绕着地球转。挑战这种意识，尽管它没有事实依据，但实际上是不可想象的。正如那首老歌所说，“当克里斯托弗·哥伦布说世界是圆的时，他们都嘲笑他”。
It is naturally easiest to appreciate this in societies where the prevailing consciousness is furthest removed from our own. Until the fifteenth and sixteenth centuries, for instance, the ruling consciousness decreed that the earth was flat and that the sun went round it. To challenge that consciousness, even though it had no basis in fact, was virtually unthinkable. As the old song had it, ‘They all laughed at Christopher Columbus, when he said the world was round’.
为了挑战太阳在运动而地球静止这一公认的智慧，伽利略面临着来自教皇宗教裁判所的压力，以至于他公开承认了这一点（尽管据说在他这样做时，他低声嘀咕了一句） '但它仍然在移动'）。
For challenging the received wisdom that it was the sun which moved while the earth stood still, Galileo faced such duress from the Papal inquisition that publicly he conceded the point (even though, as he did so, he was said to have muttered under his breath ‘but it still moves’).
今天，我们可以明智地嘲笑那些审判者的盲目和傲慢，因为我们继承了伽利略帮助塑造的新的流行智慧；正如我们可以对所有那些在道德观念发生变化、奴隶制度的非人性残忍变得有目共睹之前的日子里，对所有通过十八世纪奴隶贸易致富的人表示道德愤怒一样。但我们可能没有意识到的是，有多少构成我们这个时代盛行意识的坚定信念，与地平论或奴隶制社会可接受性的信念一样毫无根据：因为关于任何状态的观点都毫无根据。主导意识是，它基于无意识的假设，这些假设如此深刻和普遍，以至于被认为是理所当然的。在任何社会、组织或团体中，
We may today laugh knowledgeably at the blindness and arrogance of those inquisitors, because we have inherited the new prevailing wisdom which Galileo helped to shape; just as we may express moral outrage at all those who became rich from the eighteenth-century slave trade in the days before moral perceptions changed and the inhuman cruelty of the slave-system became obvious for all to see. But what we may not recognise is just how many firmly-held convictions making up the prevailing consciousness of our own time are just as ill-founded as the belief in a flat earth or the social acceptability of slavery: because the point about any state of ruling consciousness is that it is based on unconscious assumptions so deep and all-pervading that they are taken for granted. In any society, organisation or group, the unconscious psychological pressure to accept those assumptions is so great that only a few outsiders have the clarity of vision to perceive from ‘below the line’ how baseless and unjustified they are.
事实上，任何具有共同认同感的群体的主导意识都与人类个体的意识状态完全相同。因为它以集体自我为中心，所以它可以表现出与我们在人类个体中看到的完全相同的扭曲和主观倾向。正如我们在一个政党中看到的那样，该团体的行为方式中存在着显着的无意识因素，因此它仍然集体没有意识到自己的缺陷。正如我们在个体身上看到的那样，统治意识越是片面，它的片面性造成的阴影面积就越大。这些阴影越密集，我们就越有可能在其中找到代表这些价值观和更广泛意识的人，而这些价值观和更广泛的意识在统治意识中已经消失了。
In fact the ruling consciousness of any group with a sense of common identity provides an exact parallel to the state of consciousness in individual human beings. Because it is centred on a collective ego, it can exhibit precisely the same tendency to distortion and subjectivity that we see in human individuals. As we see in, say, a political party, there will thus be a significant element of unconsciousness in the way that group behaves, whereby it remains collectively unaware of its own deficiencies. Just as we see in an individual, the more one-sided the ruling consciousness becomes, the greater the area of shadow its one-sidedness creates. And the denser those shadows, the more we are likely to find within them people who represent those values and that wider awareness which, ‘above the line’, in the ruling consciousness, have gone missing.
易卜生在《人民公敌》中的一句话概括了他对人类群体这种心理特征的看法。本章开头引用的一句话是：“多数人总是错的”和“少数人总是对的”。这种观察从表面上看似乎有悖常理，违背常识，招致所有公认观点的嘲笑。但恰恰是“公认的观点”，即占统治地位的意识，从定义上讲，它永远无法掌握易卜生试图阐述的观点的微妙真相。当然，他并不是说，每当人类大多数人就某件事达成一致时，他们在所有情况下都一定是错误的。例如，大多数人都承认，人类互相残杀是不受欢迎的。他们并不会因为自己占多数而被这种信念所误导。在许多问题上，大多数人持有相似的信念，并且这样做是正确的。但在任何特定时间、任何人类群体中，在非常重要的方面，意识是盲目的；就无法客观地看待这个世界。正是在这个意义上，正如易卜生所说，“多数”、统治意识总是错误的。这应该没有什么特别令人惊讶的，因为不言而喻，在任何人类群体中，只有少数人达到了自我理解的程度，可以让他们在不被自己的感知所影响的情况下看到世界。在某种程度上被无意识的主观性所迷惑或扭曲。8
It was his perception of this psychological characteristic of human groups which Ibsen summarised in those words from An Enemy of the People quoted at the head of this chapter: ‘the majority is always wrong’ and ‘the minority is always right’. This is an observation which on the face of it might seem perverse, contrary to common sense, inviting the ridicule of all received opinion. But it is precisely ‘received opinion’, the ruling consciousness, which by definition can never grasp the subtle truth of the point Ibsen was trying to make. He is not of course saying that whenever the majority of the human race agree on something they must in all cases be wrong. Most people accept, for instance, that it is undesirable for human beings to go around killing each other. They are not misguided in this belief just because they are a majority. There are many issues on which the majority of people hold similar beliefs and are right to do so. But at any given time, in any human group, large or small, there will be a generally prevailing state of consciousness which in very significant respects will be blind; which will be unable to see the world objectively. It is in this sense that, as Ibsen put it, the ‘majority’, the ruling consciousness, is always wrong. And there should be nothing particularly surprising about this, since it is self-evident that in any collection of human beings there will be only a minority who have achieved that degree of self-understanding which can allow them to see the world without their perception being in some way fogged or skewed by unconscious subjectivity.8
那么问题来了：如果从这个意义上来说，大多数人总是可能是错误的，那么人类可以采取哪些步骤来试图对抗这种被囚禁在利己主义和永远不成熟之中的倾向呢？除了陷入幻想和一厢情愿的泡沫、最终不可避免的幻灭之外，还有其他选择吗？我们已经看到，讲故事的原型结构正是为了回答这个问题。但是，如果不了解整个人类历史中编入我们无意识的另一个原型过程如何补充讲故事的隐藏目的，那么对讲故事的隐藏目的的分析就不会完整，其中讲故事也发挥着核心作用。这就是我们下一章的主题。
The question then arises: if in this sense the majority is always likely to be wrong, what steps are open to humankind to try to counter this tendency to remain imprisoned in egotism and perpetual immaturity? Is there no alternative to being carried away into bubbles of fantasy and wishful thinking, followed eventually by inevitable disillusionment? We have already seen how it is precisely this question which the archetypal structure of storytelling is designed to answer. But no analysis of the hidden purpose of storytelling would be complete without seeing how it has been complemented throughout human history by another archetypal process programmed into our unconscious, in which the telling of stories also plays a central part. Such is the theme of our next chapter.
第三十三章
神与人
与“一”重新联系
Chapter Thirty-Three
Of Gods and Men
Reconnecting with ‘The One’
“上帝创造人类是为了讲故事。”
‘God created man in order to tell stories.’
弗朗茨·卡夫卡引用哈西德派的名言
Hasidic saying quoted by Franz Kafka
“由于我们的传统，每个人都知道他是谁，也知道上帝希望他做什么。”
‘Because of our traditions everyone knows who he is and what God expects him to do.’
屋顶上的提琴手，约瑟夫·斯坦因改编自肖勒姆·阿莱赫姆的故事
Fiddler on the Roof, adapted by Joseph Stein from stories by Sholem Aleichem
尝试让自己沉浸在这种光芒中，放弃对独立自我的所有信仰，放弃对虚幻自我的所有依恋。认识到这个真实现实的无边之光就是你自己的真实自我，你就会被拯救！
‘Try to submerge yourself in that light, giving up all belief in a separate self, all attachment to the illusory ego. Recognise that the boundless Light of this true Reality is your own true self, and you shall be saved!’
西藏度亡经
Tibetan Book of the Dead
“谁看到了多样性而不是统一性，谁就只能从死亡走向死亡。”
‘Who sees the variety and not the unity must wander on from death to death.’
卡塔奥义书
Katha Upanishad
1988 年，两位考古学家报告了他们在比利牛斯山脉的一个洞穴群中的一项非凡发现，其中包含旧石器时代的绘画。他们注意到，图像最密集的地方，有些藏在狭窄的侧廊中，难以到达，都有一个共同点。如果用人声在其中唱出一个音符，声音就会产生共鸣，比洞穴中其他任何地方都更明显。1
In 1988 two archaeologists reported on a remarkable discovery they had made in a cave complex in the Pyrenees which contained Palaeolithic paintings. They noticed that the places where the images were most thickly clustered, some tucked away in narrow side passages, awkward to reach, all had one thing in common. If a note was sung in them by the human voice, the sound gave off a resonance, more obviously than anywhere else in the caves.1
这些和其他旧石器时代的绘画是我们对人类想象周围世界图像的能力的最早记录：这是我们创造故事的基础。他们展示的人物和动物的图片，甚至是明显代表月亮每月周期的点，都是叙事的开始。尽管我们不知道为什么我们的祖先在大约两万年前会花费如此多的技巧将这些特殊的图像刻在漆黑的地下洞穴的岩石表面上，但事实是他们特别选择在有声音的地方这样做人声的回响可能提供重要的线索。因为当我们体验到与周围环境的这种共鸣时，我们就会有一种接触到超凡脱俗的“另一个维度”的感觉。无论这些画作的有意目的是什么，
These and other Palaeolithic paintings are the earliest records we have of the human ability to conjure up images of the world around us: the basis on which we create stories. The pictures they show, of men and animals and even dots apparently representing the monthly cycle of the moon, are the beginning of narrative. And although we do not know why our ancestors around 20,000 years ago should have devoted so much skill to inscribing these particular images on the rock-faces of pitch-black underground caverns, the fact that they particularly chose to do so in places where the sound of the human voice reverberates may provide a significant clue. Because when we experience that kind of resonance with our surroundings, we have the sense of being in touch with an unearthly ‘other dimension’. Whatever the conscious purpose of those paintings, it seems that what lay behind it was their creators’ sense that, in making them, they were in some way being brought ‘into tune’ with something larger than themselves.
当我们的史前祖先逐渐摆脱与自然无意识的统一状态时，没有什么比他们更壮观的人工制品更让我们着迷的了。例如，我们无休止地猜测为什么古埃及人建造了他们强大的金字塔，或者为什么英国新石器时代的居民在巨石阵和埃夫伯里建造了巨大的石圈。当然，这些令人惊叹的结构表明人类意识的组织和排序功能已经发展到了很高的程度。但同样明显的是，它们被设计成符号。吉萨的三座金字塔是基于那些熟悉的原型数字三和四的组合，四个三角形排列成四元组，形成一个象征性的整体：三个变成四个，形成一个。巨石阵的石头，2这些结构的共同点是，就像一万多年前的洞穴壁画一样，它们的设计目的是让建造它们的人们感受到与比自己更伟大的事物的联系。没有什么比那些神秘光源的运动模式更能触动他们的心弦，这些神秘光源静静地穿过他们上方的天空。赋予生命的太阳决定了白天和年份的长度，盈亏月亮决定了月份，星星在夜空中以不变的规律运行。为了使他们自己在地球上的生活与这些天堂模式和目的的迹象相协调，那些旧石器时代的艺术家在他们的洞穴墙壁上记录了月球周期，
Nothing has fascinated us more about our prehistoric ancestors, as they progressively emerged from the state of unconscious unity with nature, than their more spectacular artefacts. We endlessly speculate, for instance, as to why the ancient Egyptians built their mighty pyramids or why the Neolithic inhabitants of Britain raised up their great stone circles at Stonehenge and Avebury. Certainly these awe-inspiring structures show the organising and ordering function of human consciousness already developed to a very high degree. But what is also obvious about them is that they were designed as symbols. The three pyramids of Giza are based on a combination of those familiar archetypal numbers three and four, four triangles arranged in a quaternity to make a symbolic whole: three becoming four to make one. The stones of Stonehenge, composed in a set of concentric circles, including the tripartite structures known as trilithons, were precisely aligned not with the rising of the sun on midsummer’s day, as has been commonly supposed, but with the sun’s setting at the winter solstice, on the shortest day of the year.2 What these structures had in common was that, like cave paintings more than 10,000 years earlier, they were designed to give the people who made them a sense of connection with something infinitely greater than themselves. And nothing struck in them a deeper chord of recognition than the patterns they discerned in the movement of those mysterious sources of light wheeling silently through the heavens above them; the life-giving sun defining the lengths of their days and years, the waxing and waning moon defining their months, the constellations of stars progressing with unfailing regularity across the night sky. It was to harmonise their own lives on earth with these indications of heavenly pattern and purpose that those Palaeolithic artists recorded the lunar cycle on their cave walls, that those Neolithic builders designed Stonehenge to accord so precisely with the moment in the annual cycle when the year and nature are ‘reborn’.
我们的史前祖先所做的就是试图将自己与那种因新型意识的出现而被放逐的统一感重新建立联系。我们从讲故事中认识到他们为此目的创建的结构是自我原型的代表。它们代表着我们从希腊语Holos中衍生出来的“完整”感，它也赋予我们“圣洁”和“神圣”的含义。在创造这些“神圣”符号时，他们试图在自己的生活与整个宇宙之间建立对应关系。
What our prehistoric ancestors were doing was to try to reconnect themselves with that sense of unity from which they had been exiled by the emergence of their new type of consciousness. The structures they created to that end we recognise from storytelling as representations of the archetype of the Self. They stood for that sense of ‘wholeness’ which we derive from the Greek holos, which also gives us ‘holy’ and ‘holiness’. In creating these ‘holy’ symbols they were trying to establish a correspondence between their own lives and the totality of the cosmos.
然而，从旧石器时代这些洞壁的绘画到新石器时代这些巨大的纪念性建筑的兴起，在数千年的时间里，智人的意识实际上经历了一场深刻的革命。我们人类历史上的任何一个。
However, in the thousands of years which elapsed between the painting of those cave walls in the Old Stone Age and the raising of these vast monumental structures in the New Stone Age, the consciousness of Homo sapiens had in fact been through a revolution as profound as any in the history of our species.
从大地母亲到天神
From Mother Earth to sky gods
我们认为具有明确宗教目的的最早的文物是大量的粘土和石雕像，这些雕像在从西班牙到西伯利亚的欧洲各地都有发现。旧石器时代晚期制造它们的狩猎采集者经常将它们放置在洞穴中，这些洞穴似乎被用作避难所或“圣地”。“宗教”一词源自拉丁语ligare，结合，如结扎线和韧带。前缀“re-”表示重新建立已丢失的连接。这些小雕像中的绝大多数都展现了女性圆润、有教养、有保护性、赋予生命的女性气质，强调乳房、腹部、臀部和外阴的曲线。它们通常被描述为象征伟大母亲、大地母亲、女神母亲。它们是生育力的象征：必须以神圣的敬畏来对待大自然母亲，因为所有生命都是从她那里诞生的，这些人物的创造者依靠她来提供动物和植物，为他们提供所有的食物、衣服和住所。3
The earliest artefacts we recognise as unmistakably religious in purpose were a large number of clay and stone figurines which have been found all across Europe from Spain to Siberia. The late Palaeolithic hunter-gatherers who made them often placed them in caves which seem to have been used as sanctuaries or ‘holy places’. The word ‘religion’ comes from the Latin ligare, to bind, as in ligature and ligament. The prefix ‘re-‘ implies the re-establishing of a connection which has been lost. The vast majority of these statuettes show a woman in all her rounded, nurturing, protective, life-giving female-ness, emphasising the curves of breasts, belly, buttocks and vulva. They are generally described as symbolising the Great Mother, Mother Earth, the Mother Goddess. They were symbols of fertility: that Mother Nature who must be treated with holy awe because it was from her that all life emerged, and on her that the creators of these figures depended for the animals and plants which supplied all their food, clothing and shelter.3
当我们到达“新石器时代”或新石器时代的鼎盛时期，即公元前 4000 年至 2500年之间为埃及、英国和其他地方创造了巨大的石碑，一场心理地震已经发生。随着人类进一步摆脱原始的自然状态，他们不再依赖狩猎野生动物来生存。他们成为了牧民和耕耘者。他们不再那么直接地依赖于大自然，因为他们仍然无意识地成为大自然的一部分。他们现在更加有意识地与自然分离。他们对周围的自然世界有了一定程度的有意识的控制。为了与意识的巨大进步相匹配，他们现在正在向上仰望天空，即光源。希腊语和拉丁语中表示“上帝”的单词theos和deus源自同一个梵语词根dyaus从这里我们得到了“日”这个词。最初，这仅仅意味着“发光的东西”：光来自的东西。当然，光来自天空，尤其是赋予生命的温暖阳光。也是天空提供了赋予生命的雨水。现在，当人类在大地中播下种子，借助阳光和雨水的力量来帮助种子生长时，人与自然的关系变得更像是婚姻关系，大地作为无意识的女性伴侣，通过男性联盟的施肥而受精。人类意识与来自天空的力量之间。
By the time we arrive at the height of the ‘New Stone Age’ or Neolithic period, between 4000 and 2500 BC, which created the great stone monuments of Egypt, Britain and elsewhere, a psychological earthquake has taken place. As men have further emerged from their original state of nature, they are no longer dependent on hunting wild animals for their survival. They have become herdsmen and cultivators of the soil. They are no longer so directly dependent on Mother Nature, as something of which they are still unconsciously a part. They are now much more consciously separated from nature. They have developed a degree of conscious control over the natural world around them. And to match this mighty advance in consciousness, they are now looking upwards to the sky, the source of light. The Greek and Latin words for ‘god’, theos and deus, derive from the same Sanskrit root dyaus from which we get the word ‘day’. Originally this meant simply ‘that which shines’: that from which light comes. Certainly it was from the sky that light came, not least in the life-giving warmth of the sun. It was also the sky which provided life-giving rain. As men now planted seeds in the earth, which the powers of sun and rain would assist to grow, the relationship of man to nature had become more like that of a marriage, with the earth as the unconscious female partner, fertilised by a masculine alliance between human consciousness and those powers deriving from the sky above.
事实上，正如我们从那个时期的各种宇宙观中看到的那样，更先进的农业民族已经将世界分为三个层次。中间是他们生活的世俗层面。但现在他们的上方是天空、诸天、光源，对应着更高的意识状态；而在他们的下方，对应着黑暗的无意识，是一个阴暗的地下世界。以人类无意识自然的方式，当它通过象征意义向意识揭示其运作时，他们开始看到每个层次都充满了神秘的超自然生物，将塑造他们生活的力量人格化。4
In fact, as we can see from various cosmologies of that period, the more advanced agricultural peoples had come to see the world as divided into three levels. In the middle was the mundane, earthly level on which they lived their lives. But above them now was the sky, the heavens, the source of light, corresponding to a higher state of consciousness; while below them, corresponding to the dark unconscious, was a shadowy underworld. And in the way that is natural to the human unconscious, as it reveals its workings to the conscious mind through symbolism, they had come to see each of these levels peopled with mysterious supernatural beings, personifying the forces which shaped their lives.4
这些权力分为两个主要标题。一方面，它们代表外部的自然力量，例如太阳、月亮、空气、风、火、水、雷、闪电。另一方面，它们是控制人类情感和行为的内在精神力量和状态的投射，例如爱、正义、战争、智慧。这些力量中的每一种都以其自己的“神”、“女神”或精神以自己的方式具体化。因为这些人物所代表的是主宰人类生活的力量，因此他们具有一种神秘的力量，属于“神”。很自然地，他们应该受到敬畏和崇敬的对待，并且应该努力与他们所代表的力量和谐相处，或者通过仪式性的崇拜和牺牲行为来安抚他们。他们的共同点是，他们周围编织着一张巨大的神话之网。
These powers came under two main headings. On one hand they represented external, natural forces, such as the Sun, the Moon, air, wind, fire, water, thunder, lightning. On the other they were projections of those internal psychic forces and states which govern human emotions and actions, such as love, justice, war, wisdom. Each of these powers was personified in its own way by its own ‘god’, ‘goddess’ or spirit. Because what these figures represented were the forces which dominate human life they took on a numinous power, that which pertains to a ‘god’. It was natural that they should be treated with awe and reverence and that efforts should be made to harmonise with the forces they represented or to placate them by ritual acts of worship and sacrifice. What they also had in common was that woven around them was a great web of myth. For our prehistoric ancestors, the most profound way in which they could express their sense of how they should relate to these mysterious powers governing their lives was through their ability to imagine stories.
我们所知道的最早的宇宙观之一是古埃及文明的宇宙观，那里有 700 多个独立的神灵。然而，这些活动逐渐被四位核心人物所主导。伟大的奥西里斯神代表了男性原则。根据神话，正是他最初给埃及人民带来了秩序和文明，向他们传授法律和正义，教导他们捕鱼和农业的艺术，向他们介绍宗教，建造了第一座寺庙。伟大的女神伊希斯，他的妻子和妹妹，代表了女性原则。她给他们带来了所有的家庭制作、抚养孩子、纺纱、编织和磨玉米的艺术。她也是智慧女神。子神荷鲁斯作为他们的永恒之子诞生了。奥西里斯的兄弟塞特作为第四个影子出现，他嫉妒、扭曲、阴暗。奸诈的赛特最终杀死了奥西里斯，将他切成 14 块，是神奇数字七的两倍。是智慧而慈爱的伊希斯将他们再次聚集在一起，并奇迹般地让他们重获生命。荷鲁斯，这位救赎之子，最终杀死了赛特，为父亲报了仇。这个神话提供了我们所知道的关于上帝死后重生的最早的例子。尽管它的死亡和重生周期与自然界中类似的模式有关，例如太阳每晚的死亡和重生，或者每年干旱和洪水的交替，使尼罗河谷恢复了赋予生命的肥力，但也可以毫无疑问，奥西里斯的死因是人性中的黑暗力量，而赛特的目的就是将其人格化。奸诈的赛特最终杀死了奥西里斯，将他切成 14 块，是神奇数字七的两倍。是智慧而慈爱的伊希斯将他们再次聚集在一起，并奇迹般地让他们重获生命。荷鲁斯，这位救赎之子，最终杀死了赛特，为父亲报了仇。这个神话提供了我们所知道的关于上帝死后重生的最早的例子。尽管它的死亡和重生周期与自然界中类似的模式有关，例如太阳每晚的死亡和重生，或者每年干旱和洪水的交替，使尼罗河谷恢复了赋予生命的肥力，但仍然可以毫无疑问，奥西里斯的死因是人性中的黑暗力量，而赛特的目的就是将其人格化。奸诈的赛特最终杀死了奥西里斯，将他切成 14 块，是神奇数字七的两倍。是智慧而慈爱的伊希斯将他们再次聚集在一起，并奇迹般地让他们重获生命。荷鲁斯，这位救赎之子，最终杀死了赛特，为父亲报了仇。这个神话提供了我们所知道的关于上帝死后重生的最早的例子。尽管它的死亡和重生周期与自然界中类似的模式有关，例如太阳每晚的死亡和重生，或者每年干旱和洪水的交替，使尼罗河谷恢复了赋予生命的肥力，但也可以毫无疑问，奥西里斯的死因是人性中的黑暗力量，而赛特的目的就是将其人格化。神奇数字七的两倍。是智慧而慈爱的伊希斯将他们再次聚集在一起，并奇迹般地让他们重获生命。荷鲁斯，这位救赎之子，最终杀死了赛特，为父亲报了仇。这个神话提供了我们所知道的关于上帝死后重生的最早的例子。尽管它的死亡和重生周期与自然界中类似的模式有关，例如太阳每晚的死亡和重生，或者每年干旱和洪水的交替，使尼罗河谷恢复了赋予生命的肥力，但仍然可以毫无疑问，奥西里斯的死因是人性中的黑暗力量，而赛特的目的就是将其人格化。神奇数字七的两倍。是智慧而慈爱的伊希斯将他们再次聚集在一起，并奇迹般地让他们重获生命。荷鲁斯，这位救赎之子，最终杀死了赛特，为父亲报了仇。这个神话提供了我们所知道的关于上帝死后重生的最早的例子。尽管它的死亡和重生周期与自然界中类似的模式有关，例如太阳每晚的死亡和重生，或者每年干旱和洪水的交替，使尼罗河谷恢复了赋予生命的肥力，但仍然可以毫无疑问，奥西里斯的死因是人性中的黑暗力量，而赛特的目的就是将其人格化。最终他杀死了赛特，为父亲报了仇。这个神话提供了我们所知道的关于上帝死后重生的最早的例子。尽管它的死亡和重生周期与自然界中类似的模式有关，例如太阳每晚的死亡和重生，或者每年干旱和洪水的交替，使尼罗河谷恢复了赋予生命的肥力，但仍然可以毫无疑问，奥西里斯的死因是人性中的黑暗力量，而赛特的目的就是将其人格化。最终他杀死了赛特，为父亲报了仇。这个神话提供了我们所知道的关于上帝死后重生的最早的例子。尽管它的死亡和重生周期与自然界中类似的模式有关，例如太阳每晚的死亡和重生，或者每年干旱和洪水的交替，使尼罗河谷恢复了赋予生命的肥力，但仍然可以毫无疑问，奥西里斯的死因是人性中的黑暗力量，而赛特的目的就是将其人格化。
One of the earliest cosmologies we know was that of the civilisation of ancient Egypt, which teemed with more than 700 separate divinities. Increasingly, however, these came to be dominated by a central quartet of figures. The great god Osiris represented the masculine principle. It was he, according to the myth, who had originally brought order and civilisation to the Egyptian people, instructing them in law and justice, teaching them the arts of fishing and agriculture, introducing them to religion, building the first temples. The great goddess Isis, his wife and sister, represented the feminine principle. She brought them all the arts of home-making, nurturing children, spinning, weaving, and grinding corn. She was also the goddess of wisdom. The son-god Horus was born as their Eternal Child. And as a shadowy fourth came Osiris’s brother Set, who was jealous, twisted and dark. It was the treacherous Set who eventually slew Osiris, cutting him into 14 pieces, twice the magical number seven. It was the wise and loving Isis who brought them together again and miraculously reimbued them with life. It was Horus, the redeeming Child, who finally avenged his father by slaying Set. This myth provides the earliest example we know of the God who dies and is reborn. And although its cycle of death and rebirth was associated with similar patterns in nature, such as the nightly death and rebirth of the sun or the yearly alternation of drought and flood which restored life-giving fertility to the valley of the Nile, there can be no mistaking that the cause of Osiris’s death was that dark power in human nature which it was the purpose of Set to personify.
城市的原型
The archetype of the city
标志着人类文明黎明的任何创造都比第一批城市更加壮观。刘易斯·芒福德（Lewis Mumford）在《城市史》中首先观察到城市理念背后似乎有一个普遍的原型。无论我们在世界上的哪个地方，无论是在美索不达米亚平原还是在中美洲丛林中，我们都会看到最早城市的遗迹，它们表现出某些共同的特征。它们按照几何、正式的图案布局，通常通过墙壁等方式与周围的乡村清晰地划分开来。它们以象征性的纪念性建筑为中心，代表着精神与尘世力量的结合：例如巴比伦、尼尼微、尼普尔和乌尔的神庙宫殿，及其金字形神塔，或由晒砖制成的阶梯式金字塔式塔楼，翱翔在城市的屋顶上，让祭司王更接近天堂。5根据定义，城市代表人类功能的四个方面的整体。它代表了权力和秩序的男性原则，这两者都是建造如此不朽作品所必需的。但它们以女性的方式赋予生命，为受其保护的公民提供养育，并作为集体智慧的宝库和整体性的象征滋养他们的精神生活。一座城市意味着一个完整的社会组织等级制度，由所有阶级和群体组成，从代表其统治意识的“一线”到“线下”的黑劳阶级，这些阶级和群体的贡献对于维持城市复杂的生活运转是必要的。 '在底层，他们用体力劳动来维持它。正如我们所说的城市，“所有人类生命都在那里”。所有属于一座城市的人都可能会因为成为一个比其任何组成部分都要大得多的强大有机体的一部分而感到自豪。从这个意义上说，毫不奇怪，在整个讲故事的历史中，我们看到城市本身象征着自我的原型，作为“中心”，英雄和女英雄在这里可以充分发挥人类潜力（除非像契诃夫的作品）三姐妹他们无法到达那里）。当我们研究最早的城市，比如美索不达米亚、埃及或希腊的城市时，我们很快就会认识到，每个城市都有自己的故事来解释其起源；以及每个人如何拥有其守护神或诸神，以纪念这些伟大的中心象征性建筑升入天空。但最重要的是，有一点可以将这些天上的生物与那些怀着敬畏之心看待它们的人类区分开来。众神是不朽的。人类则不然。
No creations marking this dawn of human civilisation were more spectacular than the first cities. It was Lewis Mumford in The History of the City who first observed that there seems to be a universal archetype behind the idea of the city. Wherever we look in the world at the remains of the earliest cities, in the plains of Mesopotamia or the jungles of central America, we see them exhibiting certain common characteristics. They are laid out according to geometric, formal patterns, often clearly marked off from the surrounding countryside, as by walls. And they are centred on symbolic monumental structures which represent a combination of spiritual and earthly power: such as the temple-palaces of Babylon, Nineveh, Nippur and Ur, with their ziggurats, or stepped pyramid-like towers made from sun-baked brick, soaring over the rooftops of the city to bring its priest-kings closer to the heavens.5 By definition a city stands for the four-sided totality of human functioning. It represents the masculine principles of power and order, both of which have been required to build such a monumental creation in the first place. But these are made life-giving by the feminine way it provides nurture for the citizens under its protection, and feeds their spiritual life as a storehouse of their collective wisdom and as a symbol of totality. A city implies a complete hierarchy of social organisation, made up of all the classes and groups whose contribution is necessary to keep its complex life functioning, from those ‘above the line’ who represent its ruling consciousness down to the helot class ‘below the line’ at the bottom who help maintain it with their physical labour. As we say of a city, ‘all human life is there’. All those who belong to a city are potentially enlarged by the sense of being part of a mighty organism much greater than any of its constituent parts. In this sense it is not surprising that all the way through the history of storytelling we see the city itself symbolising the archetype of the Self, as ‘the centre’, the place where heroes and heroines can realise their full human potential (unless like Chekhov’s three sisters they cannot get there). Something else we soon recognise when we study the earliest cities, like those of Mesopotamia, Egypt or Greece, is how each had its own story, to explain its origins; and how each had its tutelary deity or deities in whose honour those great central symbolic structures were raised to the sky. But there was one thing above all which distinguished these heavenly beings from the human beings who viewed them with such awe. The gods were immortal. Mankind was not.
对永生的饥渴
The hunger for eternal life
我们的史前祖先创造了雄伟的象征性建筑还有第二个明显的目的。这是为了安置死者的遗体。从帝王谷的皇家陵墓到索尔兹伯里平原的手推车和坟墓，所有这些墓地的共同点是相信，死后，它们的居住者可能会以某种方式在其他维度继续生活。
There was a second obvious purpose for which our prehistoric ancestors created imposing symbolic structures. This was to house the remains of their dead. What all these burial places had in common, from the royal tombs of the Valley of the Kings to the barrows and tumuli of Salisbury Plain, was the belief that, after death, their occupants might somehow live on, in some other dimension.
在古代中东的堕落传说中，亚当和夏娃出现了一种新的自我意识，最重要的后果之一就是第一次知道他们会死。因为，在摆脱自然本能状态的过程中，人类发展了一种以自我为中心的个体存在感，与所有生命的统一分开，他们现在知道，与任何其他动物不同，这有一天会到来结束。然而，在它们之中仍然存在着半记得的知识，即它们是在“永恒”中继续存在的生命整体的一部分，而不管暂时体现它的每个单独有机体的有限的小生命。由于他们是“永恒”的一部分，因此人们相信那些死去的人可能会与永恒团聚。这种信念有两种形式，
In the ancient Middle Eastern legend of the Fall, one of the most significant consequences of Adam and Eve emerging to a new kind of self-consciousness was that for the first time knew they were going to die. Because, in emerging from the instinctive state of nature, human beings had developed a sense of their own individual, ego-centred existence, separate from the unity of all life, they now knew, unlike any other animals, that this would one day come to an end. Yet still within them was the half-remembered knowledge that they were part of that totality of life which continues in ‘eternity’, irrespective of the finite little lives of each separate organism which temporarily embodies it. Out of this sense that they were part of that ‘eternity’ came the belief that those who died might be reunited with it; and this belief took two forms, each of which was to have enormous influence on the developing consciousness of mankind.
第一个信仰本质上是集体的，反映了生者对先辈的态度。人类从自然状态中崛起的早期阶段，社会最普遍的特征之一是它们对自己是可以追溯到过去的生命链条的一部分的强烈感觉。正如今天在世界某些地方仍然可以看到的那样，这些文化的特点是对“祖先”的深深崇敬，他们被视为活生生的存在。活着的人的最高职责是通过维护那些继承下来的习俗和信仰来取悦祖先，这些习俗和信仰体现了部落的集体精神认同。这赋予了他们生活的各个方面以意义。6
The first of these beliefs, essentially collective, reflected the attitude of the living towards those who had died before them. One of the most widespread characteristics of societies in the earlier stages of humanity’s emergence from a state of nature was their intimate sense of being part of a chain of life stretching back into the past. As can still be seen in certain parts of the world today, such cultures are marked by a profound reverence for the ‘ancestors’, who are looked on as a living presence. The highest duty of the living is to please the ancestors, by maintaining those inherited customs and beliefs which enshrine the tribe’s collective spiritual identity. This gives significance to every aspect of their lives. In such a culture the death of any individual is seen merely as marking the moment when he or she merges back into a collective whole, which connects them in turn to the spirit which animates the universe.6
然而，最终，第二种对待死亡的态度开始出现，更多地集中在个人对自己死亡的态度，以及他们自己以某种个人形式在死亡中幸存下来的可能性。正是这一点，在新石器时代早期，正如我们在埃及和整个欧洲看到的那样，导致了在坟墓中放置食物和其他“随葬品”的做法，以帮助他们完成死后的旅程。这种个人永生的梦想变得如此令人难以忘怀，以至于它在我们有历史记录的第一个故事中扮演了关键角色，据认为至少可以追溯到公元前三千年。
Eventually, however, a second attitude towards death began to emerge, centred more on the attitude of individuals to their own death, and on the possibility that they themselves might survive death in some personal form. It was this which in early Neolithic times, as we see in Egypt and across Europe, led to the practice of placing of food and other ‘grave goods’ in their tombs, to assist them on their journey after death. So haunting did this dream of personal immortality become that it plays a key part in that first story of which we have historical record, thought to date back at least to the third millennium BC.
《吉尔伽美什史诗》是美索不达米亚两条大河之间肥沃、原始森林茂密的平原上兴起的文明的核心神话。伟大英雄吉尔伽美什的故事分为三个主要部分，他三分之二是神，三分之一是人类。他一开始是一个不守规矩的国王，身体强壮有力，但完全受他的肉体欲望的摆布，比如坚持在他的王国里每一个少女到了结婚的时候就有权对她进行除花。他是不受约束的人类自我的化身。转折点是众神安排他遇见恩启都的时候，一个真正的自然之子，与野兽一起长大，从未融入过人类社会。当一名妓女被派到荒野去引诱恩基杜时，他被驯服了。当她向他暴露自己赤裸的美丽时，他屈服了，结果所有的野生动物都逃离了他。他已经脱离自然状态，成为人类。但他在故事中的真正角色是代表英雄阴暗的另一个自我。恩基杜和吉尔伽美什一样强大且不守规矩，当他们第一次见面时就会打架。但此后，他们就变得密不可分，就像一个人的两半，组成了一个新的整体。通过这样一分为二，面对他的“自然自我”并变得自我意识，吉尔伽美什开始成熟，发展出一种无私的责任感。正是这一点，当他的王国陷入神秘而致命的邪恶的阴影时，
The Epic of Gilgamesh was the central inspiring myth of the civilisation which sprang up in the fertile, originally forested plains between the two great rivers which defined Mesopotamia. The story of the great hero Gilgamesh, two thirds divine and a third human, divides into three main parts. He begins as an unruly king, physically strong and powerful, but entirely at the mercy of his physical appetites, such as insisting on the right to deflower every maiden in his kingdom as she reaches the time of marriage. He is an embodiment of the untrammelled human ego. The turning point is when the gods arrange for him to meet Enkidu, a true child of nature who has grown up with wild beasts and never been part of human society. Enkidu is tamed when a harlot is sent out into the wilderness to seduce him. When she exposes her naked beauty to him he succumbs, with the result that all the wild creatures flee from him. He has emerged from the state of nature to become human. But his real role in the story is to represent the hero’s shadowy alter-ego. Enkidu is as strong and unruly as Gilgamesh, and when they first meet they fight. But after this they are so inseparable they are like two halves of one person, making a new whole. By thus splitting into two, confronting his ‘natural self’ and becoming self-aware, Gilgamesh begins to mature, to develop a sense of selfless responsibility. And it is this which, when his kingdom falls under the shadow of a mysterious and deadly evil, inspires Gilgamesh and Enkidu to make the long ‘forest journey’ half across the world to track down and slay the source of that evil, the monstrous Humbaba, the ‘guardian of the forest’.
然而，当恩基杜发动第三次致命一击杀死吉尔伽美什的洪巴巴时，我们看到巨人的死远非纯粹的祝福。吉尔伽美什和恩基杜继续砍伐了洪巴巴守护的大森林中的所有树木。在人类日益增强的征服自然力量面前，自然正被迫撤退。这似乎是人类意识进步的一次胜利。但是，正如我们现在所知，为农业腾出空间而砍伐美索不达米亚森林的行为最终导致了这些土地因土壤侵蚀而变成了干旱的沙漠，从而终结了它们所支持的文明。事实上，洪巴巴与其说是人类自我主义的化身，不如说是一种被人类的自我意识压垮的无意识自然的精神。
However, when Enkidu strikes the third and fatal blow which kills Gilgamesh’s Humbaba, we see the giant’s death has been far from an unmixed blessing. Gilgamesh and Enkidu go on to fell all the trees of that great forest of which Humbaba had been the guardian. Nature is being forced into retreat before the growing power of men to subdue it. This may have seemed a triumph for advancing human consciousness. But, as we now know, it was that clearing of the Mesopotamian forests to make way for agriculture which was eventually to reduce those lands through soil erosion to arid desert, bringing an end to the civilisations they had supported. Humbaba had not in fact been so much a personification of human egotism as a spirit of unconscious nature, crushed by the ego-consciousness of man.
这导致了下一集，天后伊什塔尔对芬巴巴被杀感到愤怒，决定通过将自己作为新娘来诱惑吉尔伽美什。只要他屈服于她的怀抱，她就会许诺给他财富、荣耀和统治整个地球的权力。但吉尔伽美什拒绝了她，并指出她引诱过的所有其他人最终都被阉割或羞辱。伊什塔尔就像魔笛里的夜女王一样在这里，扮演诱惑者/黑暗母亲的角色，如果英雄想要达到完全有意识的自主，他就必须逃离大自然。为了报复吉尔伽美什的拒绝，她派出了天国公牛来杀死他，在它发动了两次凶猛的攻击后，造成了他的许多战士的死亡，第三次战斗以光荣的胜利结束，在恩基杜的帮助下，公牛被杀死了。由于这次胜利，吉尔伽美什和恩启都被人们誉为最伟大的英雄。但伊什塔尔非常愤怒，她赢得了其他神灵的同意，必须二人之一必须死。与自然分离的代价是我们知道自己终有一死。这一集以恩基杜沉没而告终，吉尔伽美什为他失去的“兄弟”而悲痛不已。曾经享受过尘世荣光的伟大英雄，如今却孑然一身，面对这样的认识：他有一天也必须死去。他已经到了他的“核心危机”。失去了他最珍视的东西，面临着灭绝的必然，他现在必须面对“生命的后半生”的中心任务，因为他独自踏上了对永生秘密的漫长危险的探索。
This leads on to the next episode, which shows the Queen of Heaven, Ishtar, angry at the slaying of Humbaba, deciding to tempt Gilgamesh by offering herself to him as a bride. If only he will succumb to her embraces, she promises him riches, glory and power over all the earth. But Gilgamesh rejects her, pointing out that everyone else she has ever seduced has ended up being emasculated or humiliated. Ishtar is here like the Queen of the Night in The Magic Flute, playing the role of the Temptress/Dark Mother, that Mother Nature from whom the hero must escape if he is to reach fully conscious autonomy. In vengeance for Gilgamesh’s rejection she sends the Bull of Heaven to kill him, and after it has launched two ferocious assaults, inflicting death on many of his warriors, the third encounter ends in glorious victory as, with Enkidu’s help, the bull is slain. For this triumph, Gilgamesh and Enkidu are acclaimed by the people as the greatest of heroes. But Ishtar is so enraged that she wins agreement from the other gods that one of the two must die. The price of separation from nature is the knowledge that we are mortal. The episode ends with Enkidu sinking to his death, leaving Gilgamesh to grieve bitterly over the ‘brother’ he has lost. The great hero, who has enjoyed such earthly glory, is now all alone, facing the realisation that he too must one day die. He has come to his ‘central crisis’. Having lost that which was most dear to him, facing the certainty of extinction, he must now confront the central task of the ‘second half of life’, as he sets out on his own on a long hazardous Quest for the secret of immortality.
最后一集讲述了吉尔伽美什绝望地在荒野中徘徊，最终来到一座大山，这座大山的双峰直指天堂，而其根部则深入地下世界。这就是自我，将天堂上层世界的意识与隐藏在视线之外的黑暗无意识结合起来。吉尔伽美什进入山中，在无法穿透的黑暗中进行了 12 里格的地下旅程，这是凡人从未踏足过的地方。在进一步深入无意识之后，他终于出现在炽热的光芒和“众神的花园”中，在这里他遇到了三次。他遇到的三个人依次惊叹吉尔伽美什看起来多么疲惫和饥饿，他向每个人解释恩基杜的死如何让他意识到他必须死。第一个是沙玛什，太阳神，正义和智慧，是充分发展的意识的属性。第二个是年轻女子西杜丽 (Siduri)，阿尼玛（anima）——照管葡萄园和酿酒的人物，告诉他必须寻找乌特纳皮什丁（Utnapishtim），他是唯一被赋予永生的凡人。第三个是摆渡人，可以载着他越过死亡之水去见乌特纳皮什丁。
The final episode shows Gilgamesh wandering despairingly through the wilderness and eventually coming to a great mountain whose twin peaks rise to heaven and whose roots reach far down into the underworld. This is the Self, combining the consciousness of the heavenly upper world with the dark unconscious, buried from view. Gilgamesh enters the mountain, where for 12 leagues he journeys underground through impenetrable darkness, where no mortal man has travelled before. After travelling ever further into the unconscious, he finally emerges into blazing light and the ‘garden of the gods’ and here he has three encounters. Each of the three people he meets exclaims in turn how worn and starved Gilgamesh is looking, and to each he explains how the death of Enkidu has brought home to him that he must die. The first is Shamash, god of the sun, justice and wisdom, attributes of full-developed consciousness. The second is a young woman Siduri, an anima-figure tending her vineyard and making wine, who tells him he must seek out Utnapishtim, the only mortal who has ever been granted eternal life. The third is the ferryman who can carry him over the waters of death to meet Utnapishtim.
经过进一步的磨难，吉尔伽美什终于达到了他的目标，并遇到了“遥远的人”乌特纳皮什蒂姆，乌特纳皮什蒂姆告诉他他是如何享受永生的。当乔治·史密斯 (George Smith) 于 1872 年公布他对这个故事的翻译时，这段情节尤其令维多利亚时代的公众兴奋不已，因为乌特纳皮什蒂姆 (Utnapishtim) 描述的是《圣经》诺亚洪水神话的苏美尔版本。他回忆起人类世界如何成为骄傲和贪婪的喧嚣，众神如何决定人类的邪恶必须用一场大洪水来惩罚，以及他们如何命令他独自建造一艘船以使他能够生存。恩利尔神是大地与空气结合而诞生的，随后释放了覆盖大地的洪水。七天后，雨停了，随着水位下降，乌特纳比什丁发现，就像诺亚一样，他的船在一座高山顶上搁浅了。然后，他像诺亚一样放出了一系列的鸟，最后是一只乌鸦，乌鸦告诉他，再过七天，干燥的土地正在重新出现。埃亚神，“唯有知晓一切”的至高智慧之神，告诉恩利尔他已经走得太远了。虽然罪人受到惩罚是理所应当的，但也不能逼得太紧，否则就会死。因此，恩利尔稍微软化了一点，决定让乌特纳皮什蒂姆和他的妻子永生。他们不能被逼得太紧，否则他们就会死。因此，恩利尔稍微软化了一点，决定让乌特纳皮什蒂姆和他的妻子永生。他们不能被逼得太紧，否则他们就会死。因此，恩利尔稍微软化了一点，决定让乌特纳皮什蒂姆和他的妻子永生。
After further ordeals, Gilgamesh finally reaches his goal and meets Utnapishtim, ‘the far off one’, who tells him how he came to enjoy immortality. This was the episode which particularly electrified the Victorian public when George Smith unveiled his translation of the story in 1872, because what Utnapishtim describes was the Sumerian version of the Biblical myth of Noah’s flood. He recalls how the human world had become a babel of pride and greed, how the gods had decided that mankind must be punished for its wickedness with a great flood and how they had ordered him alone to build a boat to enable him to survive. The god Enlil, born of a marriage between earth and air, then unleashed the deluge which covered the earth. After seven days the rains ceased and, as the waters went down, Utnapishtim found, like Noah, that his boat had grounded at the top of a high mountain. He then, like Noah, sent out a succession of birds, ending in a raven, which told him, after seven more days, that dry land was re-emerging. The god Ea, the supreme god of wisdom ‘who alone knows all things’, told Enlil he had gone too far. Although it is right that sinners should be punished, they must not be driven too hard or they will die. Relenting a little, Enlil therefore decided that Utnapishtim and his wife should become immortal.
为了回应吉尔伽美什请求他也应该获得永生秘密的请求，乌特纳皮什提姆给他做了一个考验。如果他能够连续七夜六天不睡觉，他就能得到他所渴望的东西。早在第七天之前，很明显，吉尔伽美什因他的磨难而肮脏不堪，疲惫不堪，已经无可救药地失败了。但乌特纳皮什提姆现在也软化了，并承诺至少可以让吉尔伽美什在返回乌鲁克时再次显得新鲜和年轻。在妻子的介入下，乌特纳皮什提姆的态度更加软化，并告诉吉尔伽美什他如何通过潜入水中采摘一种神奇的药草来获得永葆青春的秘密。英雄这样做了，然后开始了他漫长的回家之旅。但最终他感到疲倦，在一口井边睡着了，一条蛇从井中出现，“感觉到了花的甜味”，并把药草夺走了。看起来清新又年轻。但吉尔伽美什只得空手而归。他被誉为“长途跋涉的国王”，“他是明智的，知道奥秘和秘密的事情”。但现在他“因劳作而精疲力竭”，因此去世了，这位最伟大的英雄。
In answer to Gilgamesh’s plea that he too should be given the secret of eternal life, Utnapishtim sets him a test. He can have what he craves if he can survive for seven nights and six days without sleeping. Long before the seventh day it is clear that Gilgamesh, filthy and worn out from his ordeals, has hopelessly failed. But Utnapishtim too now relents, and promises that at least Gilgamesh can be made to look fresh and young again for his return to Uruk. After an intervention by his wife, Utnapishtim relents still further and tells Gilgamesh how he can obtain the secret of eternal youth, by diving down into water and plucking a magical herb. The hero does this and sets on his long journey home. But eventually he wearies and falls asleep by a well, from which a serpent emerges, ‘sensing the sweetness of the flower’, and snatches the herb away. From that day forth, snakes had the power to renew themselves, by sloughing off their old skin to emerge looking fresh and young. But Gilgamesh had to return home empty-handed. He was hailed as the king who had been on a long journey, ‘who was wise, who knew mysteries and secret things’. But now he was ‘worn out with labour’, and so he died, the greatest of heroes.
这部伟大的苏美尔史诗精彩地反映了人类从对本能和自然的无意识依赖中走出来的漫长过程以来所走了多远。它讲述了一个男人的故事，他开始受以自我为中心的身体欲望的支配，没有任何控制纪律或自我理解。为了达到成熟和自我意识，他首先需要开始内心对话，这就是他的影子另一个自我恩基杜的到来所代表的。正如恩基杜从自然状态中显现出来一样，这位二合一的英雄现在克服了洪巴巴，进一步代表了无意识的自然状态，必须征服自然状态才能使人类的自我进步成为可能。这在他们对伊什塔尔的胜利中得到了重复。但所有这些自我意识的胜利，标志着从与自然的统一中获得更大的解放，同时也带来了对死亡不可避免的认识。然后，吉尔伽美什必须开始他孤独的追求，象征着一次外在的旅程，实际上是一次内在的旅程，寻找与生命整体失去的联系。虽然，随着他身体的衰老和疲惫，他至少似乎接近掌握他正在寻找的难以捉摸的秘密，但它却从他身边溜走了。最后，多年之后，他被迫接受他长久以来所恐惧的事情：他独立的意识存在的消失。随着他身体的衰老和疲倦，他至少似乎接近掌握他正在寻找的难以捉摸的秘密，但它却从他身边溜走了。最后，多年之后，他被迫接受他长久以来所恐惧的事情：他独立的意识存在的消失。随着他身体的衰老和疲倦，他至少似乎接近掌握他正在寻找的难以捉摸的秘密，但它却从他身边溜走了。最后，多年之后，他被迫接受他长久以来所恐惧的事情：他独立的意识存在的消失。
This great Sumerian epic brilliantly reflected how far mankind had travelled since it began the long process of emerging from unconscious dependence on instinct and nature. It tells the story of a man who begins at the mercy of his egocentric physical appetites, without any controlling discipline or self-understanding. To reach maturity and self-awareness it is first necessary for him to begin an inner dialogue, which is what is represented by the arrival of his shadowy alter-ego Enkidu. Just as Enkidu has emerged from the state of nature, so the two-in-one hero now overcomes Humbaba, further representing the unconscious state of nature which has to be subdued to make the self-advancement of mankind possible. This is repeated in their victory over Ishtar. But all these victories for ego-consciousness, marking an ever greater emancipation from unity with nature, also bring with them an awareness of the inevitability of death. Gilgamesh then has to set out on his lonely quest, symbolised as an outward journey, in fact an inner journey, in search of that lost connection with the totality of life. Although, as he grows physically old and weary, he at least seems to come near to grasping the elusive secret he is seeking, it slips away from him. At last, full of years, he is forced to accept that which he has dreaded so long: the extinction of his separate conscious existence.
在展示其英雄最终如何自然死亡的过程中，《吉尔伽美什》史诗实际上在讲故事的历史上仍然非常不寻常。人类将如何应对这一新的认识，即每个个体的意识中心都必须死亡，这一谜题将继续给出不同的答案。但对于如何解决这个谜题仍然至关重要的是，这些答案最终是否源于自我，或者来自更深层次、普遍的自我领域。
In showing how its hero eventually dies a natural death of old age, the epic of Gilgamesh was in fact to remain highly unusual in the history of storytelling. The riddle of how humankind was to cope with this new realisation that each individual centre of consciousness must die was one to which it would continue to come up with differing answers. But what was to remain crucial to how this riddle was resolved was whether those answers ultimately stemmed from the ego, or were drawn from the deeper, universal realm of the Self.
了解希腊众神
Understanding the Greek gods
当美斯波塔米亚和埃及的文明正处于鼎盛时期时，位于它们以西和以北数百英里的半岛上的更原始部落正在演化出一种新的神话，它比以前的任何神话都要复杂得多。希腊神话的故事在我们西方文明的历史中继续产生着无与伦比的共鸣。它们反映人类状况的原型意象是如此丰富，以至于至今仍然困扰着我们的思想，就像当我们提到“迷宫”、“艰巨的任务”、“九头蛇头的怪物”、“净化世界”时。奥古斯马厩”、“戈尔贡”、“俄狄浦斯情结”、“自恋”、“回声”、“地图集”、“恐慌”、“诱惑”、“特洛伊木马”。
While the civilisations of Mespotamia and Egypt were at their zenith, the more primitive tribes of a peninsula hundreds of miles to the west and north of them were evolving a new mythology much more complex than anything which had gone before. The stories of Greek mythology have continued to resonate through the history of our Western civilisation like no others. So rich was the archetypal imagery with which they reflected the human condition that it still haunts our thinking to this day, as when we refer to a ‘labyrinth’, a ‘Herculean task’, a ‘hydra-headed monster’, ‘cleansing the Augean stables’, a ‘Gorgon’, an ‘Oedipus complex’, ‘narcissism’, an ‘echo’, an ‘atlas’, ‘panic’, ‘tantalising’, a ‘Trojan horse’.
考虑到希腊想象力对集体无意识的独特微妙之处，他们的文学首先向我们展示了基于我们在本书中看到的所有原型情节的故事，这可能并不奇怪。从可以说是世界上最深刻的探索故事开始，它包含了所有其他故事的例子，最终以他们发明的喜剧和悲剧告终。尽管如此，一切的基础这些丰富的故事讲述蕴藏在他们的神话中。这些想象出来的世界包含一个我们觉得特别令人困惑的特征。大多数广为人知的故事都以神话中的人类英雄和女英雄为中心，代表典型家庭戏剧中的四个核心角色：国王、王后、王子或公主。忒修斯、珀尔修斯、奥德修斯、阿伽门农、伊阿宋、美狄亚、俄狄浦斯都是熟悉的例子。但无论哪个基本情节塑造了这个故事，我们几乎总是意识到一个或多个希腊诸神或女神的存在，徘徊在行动的边缘。这些超自然的存在要么能够为男女主人公提供帮助，例如为他们提供建议或魔法武器；要么能够为他们提供帮助。或者在他们的道路上设置障碍来阻碍他们。但他们无法直接干预行动。
Considering the unique subtlety with which the Greek imagination tapped into the collective unconscious, it may not be surprising that this was the people whose literature was the first to present us with stories based on all the archetypal plots we have been looking at in this book. Starting with what is arguably the world’s most profound Quest story, it contains examples of all the others, culminating in their invention of Comedy and Tragedy. Nevertheless, the foundations of all this wealth of storytelling lay in their myths. And the world these conjured up contains one feature which we find particularly puzzling. Most of the better-known stories are centred on mythic human heroes and heroines, representing the four central roles in the archetypal family drama, as kings, queens, princes or princesses. Theseus, Perseus, Odysseus, Agamemnon, Jason, Medea, Oedipus are all familiar examples. But whichever basic plot is shaping the story, we are almost invariably made aware of the presence of one or more of the Greek gods or goddesses, hovering on the edge of the action. These supernatural beings are either able to give the hero or heroine assistance, as by providing them with advice or with magic weapons; or to hinder them by placing obstacles in their path. But they are not able to intervene in the action directly. Once we appreciate the hidden significance of the role the gods play in these stories, however, the true purpose of Greek mythology emerges in a striking new light.
与其他文化一样，希腊人将世界分为三个层次，每个层次都居住着大量的神灵。中心是他们生活的日常尘世世界。这里居住着许多与自然特征相关的较小的灵魂，这些自然特征将可见的“意识”世界与一些更神秘的“无意识”维度联系起来：例如与从某些看不见的地下源头涌出的泉水相关的仙女，或者与回响的回声相关的从悬崖或山坡上。在可见的意识世界之下是阴暗的地下世界，由它自己的神灵统治，例如冥王哈迪斯或冥王星。人类死后就到了这里。有些人，如果他们为自己的社区做出了英勇的表现，就会在极乐世界中享受幸福。另一个少数民族，那些特别邪恶和自私的人注定要受到永恒的惩罚，就像西西弗斯一样，永远把石头推上山，只是为了再次滚下山。或者坦塔罗斯，不断地希望抓住葡萄来解他可怕的干渴，结果却被抢走了。大多数前凡人在永恒中度过了他们的时光，就像没有血色的影子，他们以前的自己的鬼魂。
Like other cultures, the Greeks imagined the world as divided into three levels, each peopled with a mass of divinities. In the centre was the everyday earthly world in which they lived. This was inhabited by many lesser spirits associated with the natural features which connected the visible, ‘conscious’ world with some more mysterious ‘unconscious’ dimension: such as the nymphs associated with springs gushing water from some invisible underground source, or the echo which reverberated from cliffs or hillsides. Below the visible conscious world was the shadowy underworld, ruled over by divinities of its own, such as the god Hades or Pluto. It was here that human beings went when they died. A few, if they had performed heroically on behalf of their community, enjoyed bliss in the Elysian fields. Another minority, those who had been particularly wicked and egotistical, was doomed to eternal punishment, like Sisyphus, eternally pushing his stone up a hill, only for it to roll down again; or Tantalus, constantly hoping to seize the grapes which would quench his terrifying thirst, only for them to be snatched away. Most former mortals spent their time in eternity just as bloodless shades, ghosts of their former selves.
然而，到目前为止，最重要的神祇是居住在最高层的十二位至高神：他们“凌驾于人类之上”，因为他们生活在天空中或希腊最高峰奥林匹斯山白雪皑皑的山顶上。这些代表了男性和女性的精确平衡。六名男性，六名女性。众神之王是宙斯，他的名字与希腊语theos源自同一词根dyaus，即光明之源。他代表了男性原则，尤其是国王和父亲的权威。他的王后赫拉，其名字源自梵文svar天空，同样代表女性原则，掌管婚姻和母性。除了宙斯之外，还有其他五位神，每一位都代表着男性气质的一个特定方面：他的儿子阿波罗，光明与秩序之神（因此也是意识之神），也代表着青春活力和男性完美的身体7；波塞冬和阿瑞斯，海洋之神和战争之神；赫菲斯托斯，神工匠，主持用火来加工金属；最后是赫尔墨斯，神圣的使者。与赫拉并肩的还有五位女神，每一位都代表女性气质的一个特定方面：阿佛洛狄忒，爱情女神；雅典娜，智慧女神；阿尔忒弥斯，女猎人；赫斯提亚 (Hestia) 负责家庭事务，负责家庭用火做饭和取暖；谷神星（Ceres）或得墨忒尔（Demeter），掌管肥沃、自然生长和土壤的耕种。在他们之下的是一系列较小的神灵，他们在人类的生活中扮演着自己的角色，从代表自然力量的诸神，如风神埃俄罗斯，到代表不同形式的九位缪斯女神。艺术灵感和学习。
By far the most important set of divinities, however, were those inhabiting the uppermost level, the 12 supreme gods: those who were ‘above mankind’ because they lived in the sky or on the snow-capped summit of Greece’s highest mountain, Olympus. These represented an exact balance of masculine and feminine. Six were male, six female. King of the gods was Zeus, whose name derived from the same root, dyaus, the source of light, as the Greek theos. He represented the masculine principle, above all kingly and fatherly authority. His queen Hera, whose name derived from the Sanskrit svar, the sky, similarly represented the feminine principle, presiding over marriage and motherhood. Alongside Zeus were five other gods, each representing a particular aspect of masculinity: his son Apollo, god of light and order (and therefore consciousness), also of youthful energy and male physical perfection7; Poseidon and Ares, gods of the sea and of war; Hephaestus, god of craftsmanship, who presided over the use of fire to work metal; and finally Hermes, the divine messenger. Alongside Hera were five goddesses, each representing a particular aspect of femininity: Aphrodite, goddess of love; Athene, goddess of wisdom; Artemis, the huntress; Hestia, who presided over home-making and the domestic use of fire for cooking and warming; and Ceres, or Demeter, presiding over fertility, natural growth and cultivation of the soil. Ranked below them was an array of lesser divine beings, all with their own role to play in the life of mankind, ranging from gods personifying the forces of nature, such as Aeolus, god of the winds, to the nine Muses, personifying different forms of artistic inspiration and learning.
围绕所有这些人物，希腊人编织了一大堆故事，这些故事实际上分为两个标题。首先，有一些关于诸神的相互关系的故事。但与它们并存的还有所有这些神话，虽然以人类英雄和女英雄为中心，但也以诸神在行动边缘发挥神秘影响力的角色为特色。正是在这里，我们看到这些超自然生物的真正目的是人格化所有控制人类情感和行为的心灵动力。
Around all these figures the Greeks wove an immense thicket of stories, which really come under two headings. Firstly, there are stories just about the interrelationships of the gods themselves. But alongside them are all those myths which, although centred on human heroes and heroines, also feature the gods in their mysteriously influential role on the edge of the action. And it is here we see that the true purpose of these supernatural beings is to personify all those dynamic forces in the psyche which govern human emotions and behaviour.
理解希腊众神的角色的关键是看看当他们所代表的特定精神力量与即将展开的行动相关时，他们是如何出现在故事中的。因此，它们为我们提供了关于什么精神力量在发挥作用的线索：要么帮助男女主人公走向成功，要么体现他们将面临的挑战的本质。正如我们在本书中多次看到的那样，波塞冬是这方面最关键的人物之一。作为宙斯的兄弟，这位生活在神秘的海洋深处的神，在他的黑暗方面代表了成熟男性气质的消极、“低等”版本。从这方面来说，他因此成为“黑暗之父”。每当英雄以某种方式与波塞冬或他的一名特工发生冲突时，
The key to understanding the role of the Greek gods is to see how they appear in a story at just the moment when the particular psychic force they represent becomes relevant to the action which is about to unfold. They thus give us a clue as to what psychic powers are in play: either to help the heroes and heroines on their way to success, or to personify the nature of the challenges they will have to face. One of the most crucial figures in this respect, as we have already seen several times in this book, is Poseidon. As Zeus’s brother, the god who lives in the mysterious depths of the sea represents, in his dark aspect, the negative, ‘inferior’ version of full-grown masculinity. In this aspect he thus becomes the ‘Dark Father’. Whenever a hero in some way comes into conflict with Poseidon or one of his agents, we know he is going to have to show himself to be his ‘light opposite’: fully masculine but also balanced, open to the feminine values of selfless feeling and intuition.
因此，当忒修斯出发前往克里特岛对抗暴君米诺斯的力量时，他将要面对的主要物理对手公牛是波塞冬的创造物。但当忒修斯上船时，盘旋在他头顶的保护神是爱神阿佛洛狄忒。这告诉我们，充满爱意的女性将以某种方式证明是克服他所要挑战的黑暗男性的关键。正如我们所看到的，当他到达时，阿里阿德涅爱上了他，并为他提供了克服怪物并逃离迷宫所需的一切。
Thus when Theseus sets out for Crete to confront the power of the Tyrant Minos, the chief physical opponent he is about to face, the Bull, is a creation of Poseidon. But as Theseus embarks, the protective deity hovering over him is Aphrodite, goddess of love. This tells us that the loving feminine will somehow prove the key to overcoming the dark masculine he is setting out to challenge; as we see when, on his arrival, Ariadne falls in love with him and supplies all he needs to overcome the monster and escape the labyrinth.
当达那厄被她残暴的父亲阿克里西乌斯关在塔楼里时，代表“光明男子气概”的众神之王宙斯伪装成闪闪发光的黄金雨，使她怀孕。像许多神话英雄一样，她的孩子珀尔修斯也是半人半神。然后我们看到他在赫耳墨斯、雅典娜和冥王星的帮助下，通过战胜代表黑暗女性的阉割力量的蛇发女妖，赢得了男子气概。他的最后一个任务是从海怪（又是波塞冬的创造物）手中拯救安德洛墨达（Andromeda），以表明他的男子气概已完全平衡。
When Danae is shut away in a tower by her tyrannical father Acrisius, it is the king of the gods, Zeus, representing ‘light masculinity’, who impregnates her, disguised as a shining shower of gold. Like many mythic heroes, her child Perseus is thus half-man, half-god; and we then see him – with the help of Hermes, Athene and Pluto – winning his manhood by overcoming the Gorgon, representing the emasculating power of the dark feminine. His final task, to show that his manhood is fully balanced, is to rescue Andromeda, the anima, from the sea-monster, which is again a creation of Poseidon.
同样，波塞冬是整个奥德赛英雄的主要对手，决定他不能达到他的目标。波塞冬是奥德修斯的父亲最可怕的对手，波吕斐摩斯。奥德修斯在这场磨难中生存所需要的是直觉，这种直觉最终教会他如何智胜这个愚蠢的巨人（奥德修斯强加给他的外在盲目象征着他内心的盲目）。8在整个故事中，奥德修斯的主要盟友是智慧女神雅典娜，她恰恰代表了奥德修斯克服波塞冬所代表的盲目无情的男性气质所需的女性价值。渐渐地，在雅典娜的指导下，我们看到奥德修斯发展了他的理解力和自制力，直到最后他准备好与追求者摊牌，这表明他已经达到了完全平衡的成熟。
Similarly, Poseidon is the hero’s chief opponent all through the Odyssey, deter-mined that he should not reach his goal. It is Poseidon who has fathered Odysseus’s most terrifying opponent, Polyphemus. What Odysseus needs to survive this ordeal is the intuition which eventually teaches him how to outwit the foolish giant (whose inner blindness is then symbolised by the outer blindness Odysseus inflicts on him).8 All through the story Odysseus’s chief ally is Athene, the goddess of wisdom, representing precisely that feminine value which Odysseus needs to overcome the blind and heartless masculinity represented by Poseidon. Gradually, under Athene’s tutelage, we see Odysseus developing his understanding and self-control, until at last he is ready for that showdown with the suitors which shows he has reached fully-balanced maturity.
赫尔墨斯是希腊最聪明的诸神之一，他以神圣使者的角色而闻名。但他扮演的角色远不止这些。一旦我们看到了它们的共同点，我们就开始认识到赫耳墨斯在希腊人对人类心理的理解中扮演了多么微妙的角色。从本质上讲，赫耳墨斯是掌管一种状态与另一种状态之间转变的神。例如，这就是为什么他是旅行者和水手之神，这两者都意味着一个地方和另一个地方之间的移动。他也是商人、市场和买卖之神，负责货物和财产从一个人转移到另一个人的过程。出于同样的原因，他是盗贼之神。但在更深层次上，赫耳墨斯是掌管已知与未知之间所有过渡的神。什么是可见的，什么是不可见的；意识世界和无意识世界之间。这就是为什么他是黄昏之神，即从白天到黑夜的过渡。以及掌管埋葬和墓地、从生到死的过渡的神。他也是梦之神，将图像从我们的无意识传递到意识。他是代表我们直觉的神，这就是为什么他也是赌博之神和运气之神。正是在这方面，他是众神向人类传递信息的载体。因为他是主宰所有生命过程的神，客观无意识试图通过这个过程告诉我们主观意识正在阻挡的东西。暴风雨。9
One of the most ingenious of the Greek gods is Hermes, best-known in his role as the divine messenger. But he had many more roles than this; and once we see what they all have in common, we begin to recognise just what a subtle part Hermes played in the Greeks’ understanding of human psychology. Essentially Hermes is the god who presides over transitions between one state and another. This is why, for instance, he was the god of travellers and of sailors, each of which imply movement between one place and another. He was also the god of merchants, markets and buying and selling, as goods and property are transferred from one person to another. For the same reason he was the god of thieves. But at a deeper level, Hermes is the god who presides over all transitions between what is known and what is unknown; what is visible and what is invisible; between the world of consciousness and the unconscious. This is why he was the god of twilight, the transition from day to night; and the god presiding over burials and graveyards, the transition from life to death. He was also the god of dreams, images passed from our unconscious to consciousness. He was the god representing our sense of intuition, which is why he was also the god of gambling and luck. And it was in this respect that he was the carrier of messages from the gods to men; because he is the god who presides over all that vital process whereby the objective unconscious tries to inform us of that which our subjective consciousness is blocking out. In archetypal terms he thus plays the role of the ‘Trickster’, not dissimilar to that played by Ariel in The Tempest.9
在《奥德赛》中，没有比喀耳刻岛上的时刻更关键的时刻了，奥德修斯的手下被女巫女神的魔法困住了。我们第一次看到奥德修斯发展出自我保护的理解，这导致他只派了一半的人前去探索。岛，而他则留在后面。此时，除了赫尔墨斯之外，谁应该出现在森林里，给奥德修斯一种神奇的药草，并为他提供抵御喀耳刻魔法所需的建议。这确实是故事的转折点，因为从现在起奥德修斯越来越意识到他必须做什么。一旦掌握，喀耳刻就会向他展示如何与包括泰瑞西亚斯在内的地底灵魂取得联系，象征着他与无意识智慧的新接触。他培养了以前缺乏的自制力，这最终将带领他实现目标。
There is no more crucial moment in the Odyssey than that on Circe’s island, where Odysseus’s men have been trapped by the witch-goddess’s enchantments. For the first time we have seen Odysseus developing the self-protective understanding which has led him only to send half his men forward to explore the island, while he remains behind. At this point who should turn up in the forest but Hermes, giving Odysseus a magic herb and the advice he needs to withstand Circe’s magic. This is really the turning point of the story, because from now on Odysseus becomes more and more conscious of what he has to do. Once mastered, Circe shows him how to get in touch with the spirits of the underworld, including Teiresias, symbolising his new contact with the wisdom of the unconscious. He develops that self-control he has previously lacked, and which will eventually carry him to his goal.
希腊神话中最伟大的英雄是赫拉克勒斯或赫拉克勒斯，他和珀尔修斯一样，是宙斯和凡人母亲的儿子：半人半神。当赫拉克勒斯的出生引起了宙斯女王赫拉的愤怒和嫉妒时，围绕赫拉克勒斯最终积累起来的复杂传说开始了，赫拉因此承担了“黑暗母亲”的消极面。10面对“黑暗女性”的致命敌意，他的任务就是从她所代表的无意识的力量中赢得完整的男子气概。当他还是一个新生婴儿时，他勒死了赫拉派来杀死他的两条致命毒蛇，从而赢得了他的第一次胜利（就像《魔笛》开头的塔米诺战胜了毒蛇一样））。他长大成人，赢得了几场象征性的战斗，并得到了奖励，得到了底比斯公主麦加拉作为他的妻子。但随后出现了“核心危机”，赫拉使他陷入疯狂，导致他“失去知觉”，他谋杀了妻子和孩子，从而失去了他最珍贵的一切。
The greatest of the Greek mythic heroes was Heracles or Hercules who, like Perseus, was the son of Zeus and a mortal mother: half-man, half-god. The complex of legends which eventually accumulated round Hercules begin when his birth arouses the rage and jealousy of Zeus’s queen Hera, who thus takes on her negative aspect as the ‘Dark Mother’.10 Faced with the deadly enmity of the ‘dark feminine’, his task is thus to win his full manhood from the power of unconsciousness she represents. He wins his first victory when, as a newborn baby, he strangles the two deadly serpents Hera has sent to kill him (rather like Tamino overcoming the serpent at the start of The Magic Flute). He grows up to adulthood, winning several more symbolic battles, and is rewarded by being given the Theban princess Megara as his wife. But then comes the ‘central crisis’ when, rendered ‘unconscious’ by a fit of madness inflicted on him by Hera, he murders his wife and children, thus losing all that is most dear to him.
为了了解如何才能弥补这一可怕的罪行，他前往德尔菲寻求阿波罗的神谕。这又总是象征着从无意识中获得智慧，因为阿波罗，光明和意识之神，由女祭司服务，她们传递来自她们所接触的神秘黑暗地下世界的信息。神谕告诉他，弥补自己过失的唯一方法就是开始执行一系列让他闻名的 12 项任务（这些任务的希腊语是athloi），意思是“提供巨大奖励的考验”，我们从中衍生出“运动员”）。名义上，他必须按照伯罗奔尼撒半岛东北部梯林斯国王欧律斯透斯的要求执行这些任务，欧律斯透斯被描绘成一个没有男子气概、胆怯的生物，与赫拉克勒斯完全男性化的形象相反。这些考验的模式是，它们的地理范围逐渐从梯林斯扩大，这表明赫拉克勒斯是如何随着他们的进步而不断成长的。前五场战斗，包括杀死尼米亚狮子和勒讷沼泽的多头九头蛇等怪物，都发生在距离提林斯不远的地方。第六次是对伊利斯奥吉亚马厩的清洗，将赫拉克勒斯带到了伯罗奔尼撒半岛的另一边。从这里开始，圈子变得越来越宽。他被依次带到克里特岛、希腊北部的色雷斯，大海，赢得亚马逊女王的腰带；到地中海的最西端（因此“赫拉克勒斯之柱”是直布罗陀海峡的古称）；然后更远的西边，夕阳和死亡的方向，从遥远的赫斯珀里得斯花园夺取金苹果（这也需要他去非洲看看肩负世界的巨型阿特拉斯） ，当然，我们的词是“地图集”）。赫拉克勒斯的最后磨难把他带到了地狱本身，抓住了可怕的刻耳柏洛斯，他在赫耳墨斯和雅典娜的帮助下做到了这一点，雅典娜和神明最高地代表着直觉和智慧的力量只有那些最有能力的人才能获得。与无意识密切协调。
To learn how he can expiate this dreadful crime, he visits Delphi to consult the oracle of Apollo. This again always symbolises the obtaining of wisdom from the unconscious, because Apollo, the god of light and consciousness, is served by priestesses who pass up messages from that mysterious dark underworld with which they are in contact. The oracle tells him the only way he can remedy his offence is to embark on the series of 12 tasks for which he is famous (the Greek for these is athloi, meaning ‘ordeals which offer a great prize’, from which we derive ‘athlete’). He nominally has to carry these out at the behest of Eurystheus, king of Tiryns, in the north-east Peloponnese, who is presented as an unmanly, cowardly creature, the negative opposite of the fully-masculine figure Hercules is to become. The pattern of these ordeals, to show how Hercules is growing in stature as they progress, is that they gradually widen out geographically from Tiryns. The first five, including the slaying of several monsters, such as the Nemean lion and the many-headed Hydra of the Lernean marshes, all take place not far from Tiryns. The sixth, the cleansing of the Augean stables at Elis, takes Hercules to the other side of the Peloponnese; and from here the circle grows ever wider. He is taken in turn to Crete, to Thrace in the north of Greece, to the Black Sea, to win the girdle of the queen of the Amazons; to the westernmost end of the Mediterranean (hence ‘the Pillars of Hercules’ as the ancient name for the straits of Gibraltar); and then even further to the west, the direction of the setting sun and of death, to seize the golden apples from the remote Garden of the Hesperides (this also requires him to visit Africa to see the giant Atlas who carries the world on his shoulders, hence, of course, our word ‘atlas’). Hercules’s final ordeal takes him down to the underworld itself, to seize the monstrous Cerberus, which he does with the aid of both Hermes and Athene, the god and goddess who supremely represent that those powers of intuition and wisdom only available to those who are most closely in harmony with the unconscious.
通过掌握哈迪斯王国可怕的守护者，赫拉克勒斯征服了死亡。尽管在凡人中他最终必须死于九头蛇之血的毒害，但他还是被带入了天堂。在这里，他终于与赫拉和解，赫拉将她的女儿赫柏嫁给了他，赫柏是众神的女仆，与永恒的青春有关。与他的阿尼玛结合，他已成为不朽者之一。
In mastering the terrifying guardian of the kingdom of Hades, Hercules has conquered death. And although in his mortal self he must eventually die, poisoned by the blood of the Hydra, he is taken up into heaven. Here he is finally reconciled with Hera, who gives him in marriage her daughter Hebe, the handmaiden of the gods, associated with eternal youth. United with his anima, he has become one of the immortals.
所有这些神话都来自希腊史前的迷雾，是希腊集体无意识的匿名产物。但我们最终还是看到了这两部史诗，它们是第一批被归为有名作者的希腊故事，其历史可以追溯到青铜时代末期的后迈凯尼希腊文明的黎明时期。其中一个，比如吉尔伽美什，一个伟大英雄的个人故事，我们已经在本书中多次看过，作为基于探索原型的所有故事中的第一个也是最伟大的。荷马的另一部史诗《伊利亚特》，仅集中于希腊人民核心集体传说中相对较小的一部分，因为它描述了他们如何在希腊各地的国王和英雄的领导下团结起来，与他们最大的外部敌人进行一场伟大的战争。尽管考古证据表明小亚细亚特洛伊遗址上存在一系列城市，但没有历史证据表明曾经发生过故事中描述的战争。但重要的是其背后的基本象征意义。
All these myths emerge from the mists of Greek prehistory, anonymous products of the Greek collective unconscious. But we finally come to the two epics which are the first Greek stories ascribed to a named author, dating back to the dawn of post-Mycaenean Hellenic civilisation at the end of the Bronze Age. One of these, like Gilgamesh the individual story of a great hero, we have already looked at many times in this book, as the first and greatest of all stories based on the archetype of the Quest. Homer’s other epic poem, the Iliad, concentrates on only a comparatively small part of what had become the central collective legend of the Greek peoples, as it describes how they united, under the leadership of kings and heroes from all over Greece, to fight a mighty war with their greatest external enemy. Despite archaeological evidence that there was a succession of cities on the site of Troy in Asia Minor, there is no historical evidence that a war such as that described in the story ever took place. But what is significant is the basic symbolism behind it.
这场伟大冲突的故事始于奥林匹斯山上的竞争，当时三位主要女神赫拉、雅典娜和阿芙罗狄蒂决定请年轻的特洛伊王子帕里斯来判断她们中谁最美丽。对他来说，作为一个英俊的年轻人，爱比母性或智慧更重要，他把奖赏给了阿芙罗狄蒂。这激起了赫拉复仇的“黑暗女性”愤怒，她安排帕里斯爱上希腊最伟大的国王之一斯巴达的墨涅拉俄斯的妻子，并将她绑架回特洛伊，从而为他的愚蠢付出代价。 。希腊人齐心协力，要赢回她的胜利，因此，我们在特洛伊战争的基本故事中看到了一种再熟悉不过的典型场景，即一群英雄出发挑战掌握着光明的“黑暗力量”。女性化的，阿尼玛，生命的精神。当他们围攻怪物的堡垒时，这将是一场漫长而激烈的战斗。但希腊英雄有一个终极优势。他们的保护神是智慧女神雅典娜。在他们对这座城市的所有直接攻击都徒劳之后，最终是她引导他们认识到赢得这场战争的唯一方法是通过狡猾。他们欺骗了特洛伊人接受了木马的礼物，这样隐藏在木马内的希腊战士就可以进入城市。在很短的时间内，由于她们的“女性”狡猾，她们仅靠男性英雄行为所未能实现的一切都被交付给了她们。特洛伊成了废墟，勇敢的守卫者被杀。海伦，“永恒的女性”，已经从监禁中解放出来。
The story of this great conflict begins with rivalry on Olympus when the three leading goddesses, Hera, Athene and Aphrodite, decide to ask the young Trojan prince, Paris, to judge which of them is most beautiful. For him, as a handsome young man, love is to be preferred above motherhood or wisdom, and he awards the prize to Aphrodite. This provokes Hera to vengeful ‘dark feminine’ fury, and she arranges that Paris shall be paid out for his folly by falling in love with the wife of one of the greatest of the Greek kings, Menelaus of Sparta, and abducting her back to Troy. The Greeks all join together to win her back, and we thus see in the essential story of the Trojan war that all too familiar archetypal scenario which shows a group of heroes setting out to challenge a ‘dark power’ which has in its grip the shining feminine, the anima, the spirit of life. As they lay siege to the monster’s citadel, it is to be a long and fiercely fought struggle. But the Greek heroes have one ultimate advantage. Their protective deity is Athene, the goddess of wisdom. It is she who in the end, after all their direct assaults on the city have been in vain, guides them to realise that the only way to win this war is through cunning. They trick the Trojans into accepting the gift of the wooden horse, so that the Greek warriors concealed within it can win access to the city. Within a short time, thanks to their ‘feminine’ guile, all they have failed to achieve by mere masculine heroics has been delivered up to them. Troy lies in ruins, its brave defenders slain. Helen, the ‘eternal feminine’, has been liberated from her imprisonment.
但这当然还不是故事的结局。正如我们所见，希腊的情报人员非常好奇，他们总是想知道故事开始之前发生了什么，以及故事结束之后发生了什么。他们历史上的中心传奇事件——特洛伊战争，引发了许多附属故事。其中一些描述了大围攻前夕发生的事件，例如阿伽门农的女儿伊菲革涅亚牺牲的事件。更多的是描述了各个英雄从战争中归来后的命运，例如阿伽门农返回迈锡尼时所遭遇的命运，当时他被通奸的妻子克吕泰涅斯特拉谋杀，然后由他的儿子俄瑞斯忒斯报仇。当智慧女神雅典娜被召唤来裁决奥瑞斯忒斯最终赎罪时，这个特殊的循环就结束了。但这些故事中最伟大的是描述奥德修斯回家的故事。当然，这就像战争本身的故事一样，以最后一场解放世界的伟大战役结束。阿尼玛从黑暗力量的致命掌控中逃脱。
But this is not of course the end of the story. So curious was the Greek intelligence that, as we have seen, they were always wanting to know what happened before the beginning of a story, and what came after it ended. That central legendary event of their history, the Trojan war, gave rise to a host of ancillary tales. Some of these described events which took place in the run-up to the great siege, such as those featuring the sacrifice of Agamemnon’s daughter Iphigenia. Even more described the fate of the various heroes on their return from the war, such as that which befell Agamemnon on his return to Mycenae, when he was murdered by his adulterous wife Clytemnestra, then avenged by his son Orestes. This particular cycle was to end when Athene, as goddess of wisdom, was called in to rule that Orestes had finally expiated his crime. But the greatest of these stories was that describing the return home of Odysseus. And of course this, like the story of the war itself, ends in a last great battle to liberate the anima from the deadly grip of the dark power.
希腊神话最显着的特征之一是它首次将“女性价值”置于中心地位，而“女性价值”首先体现在智慧女神身上，她受到如此高度的尊敬，以至于她以自己的名字命名了希腊神话。希腊文明最重要的城市，其最伟大的神庙，从卫城的巨大岩石上俯瞰整个城市，与埃及金字塔并列，成为古代世界最著名的单体建筑。在一个又一个的神话中，我们将“永恒的女性”从黑暗的掌控中解放出来视为最终实现的时刻，此时真正的英雄达到了完整的状态。
One of the most striking features of Greek mythology was the way it, for the first time, gave a central place to the ‘feminine value’, personified above all in that goddess of wisdom who was revered so highly that she gave her name to the foremost city of Greek civilisation, and whose greatest temple, looking down over that city from the mighty rock of the Acropolis, remains alongside the pyramids of Egypt as the most famous single building of the ancient world. In myth after myth we see the release of the ‘eternal feminine’ from the grip of darkness as the moment of ultimate fulfilment, when the true hero reaches the state of wholeness.
这就是这些故事的力量，当以雅典为中心的文明在公元前五世纪达到鼎盛时期时，它继续塑造了许多代表西方世界第一部伟大书面文学的悲剧。希腊人回顾了那个黎明时代，当时众神与那些几个世纪前创造了他们的世界的传奇英雄混在一起，并在这些古老的故事中发现了这些古老的故事，例如奥瑞斯忒斯、俄狄浦斯或美狄亚的故事，人类的愚蠢和救赎的主题可以为他们提供宣泄：亚里士多德所描述的情感和灵魂的净化，来自于观看人类生活中最深刻的心理模式在剧院上演。
Such was the power of this body of stories that when the civilisation centred on Athens achieved its finest flowering in the fifth century BC, it continued to shape many of those tragedies which represented the first great written literature of the Western world. The Greeks looked back to that dawn-time when the gods mingled with those legendary heroes who had created their world centuries before, and found in these ancient stories, like those of Orestes or Oedipus or Medea, the themes of human folly and redemption which could provide them with catharsis: that purification of the emotions and the soul described by Aristotle, which comes from watching the acting out in a theatre of the most profound psychological patterns in human life.
但在某些方面，人们已经感觉到这种看待世界的方式有些过时了。所有这些丰富的神话生物都属于以前的、更原始的时代。早在两个多世纪前，诗人赫西俄德就将人类的历史描述为经历了四个时代。 最初，曾经是黄金时代，当时人们与自然和彼此和谐相处，幸福而天真地生活着。 ，满足他们的所有需求。然后进入了白银时代，当时的人们变得骄傲，反抗众神，最终激怒了宙斯，他摧毁了许多人。其中。随后进入了青铜时代，人们互相攻击，使用新武器进行杀戮和战争。这最终导致了英雄时代，一种插曲，即特洛伊和底比斯战争的时代，当时至少伟大的战士英雄通过他们的贵族救赎了自己。但现在已经到了最糟糕的时代，即钢铁时代，人类已经从英雄的水平上堕落了，变得卑鄙、卑鄙、贪婪、好色、虚荣和好争吵，没有任何真正的救赎特征。在这一点上，赫西奥德体现了“整体性”原则，而人类在这一原则上却未能成为一个单一的“上帝”。
But in some quarters there was already a sense that there was something archaic about this way of looking at the world; that all this profusion of mythical beings belonged to a former, more primitive age. Already, more than two centuries earlier, the poet Hesiod had portrayed the history of mankind as having unfolded through four ages, Once, in the beginning, had been the Golden Age, when men had lived happily and innocently at one with nature and each other, with all their needs taken care of. Then had come a Silver Age, when men had become proud, rebelling against the gods, eventually provoking Zeus to such anger that he destroyed many of them. Then had come the age of Bronze, when men had turned on each other, using their new weapons to kill and wage war. This had eventually led to the Heroic Age, a kind of interlude, the time of the Trojan and Theban wars, when at least the great warrior heroes had redeemed themselves by their nobility. But now had come the worst time of all, the age of Iron, when humanity had sunk back from this heroic level and become petty, mean, greedy, lustful, vain and quarrelsome, without any real redeeming features. And at this point Hesiod personified that principle of ‘wholeness’ from which men had so fallen short as one single ‘God’.
这幅图画描绘了人类在摆脱自然状态后，意识的增强如何逐渐给他带来越来越多的问题，早在公元前 600 年至 400 年雅典文明的繁荣之前就已存在。。但在这一时期，一种新的冲动开始在人类的心灵中显现出来，这种冲动将提出一种完全不同的方式来看待人类与他们感到被放逐的“完整”状态之间的关系。如果在众多拟人化的神祗塑造人类思维和行为的力量的背后，只有一位呢？如果，在地球上及地球以外的众多生物的背后，只有一个无比神秘、全能、无所不知的精神或心灵，负责创造整个宇宙及其中的一切，那会怎样呢？所有的创造物，包括人类本身，在某种程度上都只是短暂的物理体现？
This picture of how, following his emergence from a state of nature, man’s increasing consciousness had progressively brought him more and more problems long pre-dated the flowering of Athenian civilisation between 600 and 400 BC. But during this period a new impulse was beginning to show itself in the psyche of mankind which was to come up with a quite different way of looking at the relationship of human beings to that state of ‘wholeness’ from which they felt exiled. What if, behind all this profusion of anthropomorphic gods personifying the forces shaping human thinking and behaviour, there was only One? What if, behind all the multitude of creatures on this earth and beyond it, there was just one immeasurably mysterious, all-powerful and omniscient Spirit or Mind, responsible for creating the entire universe and everything in it; and of which all created things, including human beings themselves, were in some way just transitory physical embodiments?
人类意识中正在发生另一场大地震：与两三千年前产生天神的地震一样大。
A further great earthquake was taking place in human consciousness: as great as the one which had given rise to the sky gods two or three thousand years earlier.
道，宇宙灵魂和“一”
Tao, the universal soul and ‘the one’
在当今世界上所有更先进的文明中，我们都可以看到一种统一的冲动：想象所有令人眼花缭乱的创造物不是由一系列独立的神灵统治的，而是由一个终极力量、精神或原则统治的。我们不仅在西方看到了这一点，赫西奥德已经在西方写到单一的上帝统治着人类的事务。在中国和印度这两个世界上人口最多的文明国家中，这一现象表现得更为引人注目。
In all the more advanced civilisations of the world at this time we can see an impulse to unify: to imagine all the bewildering variety of creation as being governed not by a range of separate divinities but by one Ultimate Power, Spirit or Principle. We see this not just in the west, where Hesiod had already written of a single God as ruling over the affairs of mankind. It emerges even more dramatically in the world’s two most populous civilisations, those of China and India.
正如希腊和埃及一样，中国和印度的史前神话也发展了令人眼花缭乱的众多神祇来解释主宰人类事务的无形力量。中华帝国初期，主神是玉尊。11他被视为天堂版的皇帝，周围环绕着朝廷，住在神话般的山顶上的玉皇宫里。这位皇神统治着一个庞大的天国政府，由负责自然和人类生存所有领域的官僚“部委”组成。他们向人类代表的规则被称为“天命”或“天命”。最终，中国人设计了一个同样官僚化的地狱：一个拥有自己的法庭的地下世界，并对每种不遵守天命的行为精心规定了惩罚；而那些无私的人，凡有德行的人，如果能做到这一点，死后可能会得到奖励，被允许进入天宫花园，吃不朽的桃树果子。
Just as in Greece and Egypt, the prehistoric mythologies of China and India had developed a dazzling multiplicity of deities to explain the invisible forces which presided over human affairs. In the early period of the Chinese empire, the chief god was the August Personage of Jade.11 He was seen as like a heavenly version of the emperor, surrounded by his court, living in a jade palace on top of a fabulous mountain. This imperial god ruled over a vast heavenly government, made up of bureaucratic ‘ministries’ responsible for all areas of natural and human existence. The rule they represented to mankind was known as ‘T’ien Ming’ or ‘the Mandate of Heaven’. Eventually the Chinese devised an equally bureaucratic version of hell: an underworld complete with its own law courts and carefully prescribed punishments for each form of failure to obey the Mandate of Heaven; while those selfless, virtuous mortals who did fulfil it might be rewarded after their death by being admitted to the gardens of the heavenly palace, to eat the fruit of the Peach Tree of Immortality.
印度人民已经开始编织最复杂的神话网，最终从中诞生了几种不同的宗教，包括各种形式的印度教、佛教和耆那教。最早，他们万神殿中的宙斯形象是天神因陀罗，在公元前 1000年之前的吠陀赞美诗中得到了庆祝，与爆炸性的男性力量相关，雷神和战争之神，通过分裂山峦和云层提供河流、阳光和雨水而带来丰饶。他与另一位伟大的神维鲁纳联系在一起，维鲁纳代表着宇宙的秩序原则，它支配着宇宙的运作和写在人类心中的道德法则。他们身边有无数的小神，其中另外两位伟大的神逐渐脱颖而出：湿婆和毗湿奴，“世界的创造者、保护者和毁灭者”。最终，第三位梵天加入其中，形成著名的印度教三位一体，即三穆尔蒂。根据一个版本，梵天描述了他的观察结果：
The peoples of India had already begun weaving the most convoluted mythic web of all, out of which were eventually to spring several different religions, including the various forms of Hinduism, Buddhism and Jainism. In earliest times the Zeus-figure of their pantheon was the sky god, Indra, celebrated in Vedic hymns before 1000 BC, associated with explosive masculine power, god of thunder and war, bringer of fertility by his splitting of mountains and clouds to provide rivers, sunshine and rain. He was associated with another great god, Viruna, representing that cosmic principle of order which governs both the workings of the universe and the moral law written in the hearts of mankind. They were accompanied by innumerable lesser divinities, from among whom two more great gods gradually came to the fore, Siva and Vishnu, ‘creator, preserver and destroyer of worlds’. These were eventually joined by a third, Brahma, to form the celebrated Hindu trinity, trimurti. According to one version Brahma describes how he observed:
“伟大的纳拉亚纳，宇宙的灵魂，有一千只全知的眼睛，既存在又不存在，在无形的水面上沉思，由无限的千头蛇支撑。”
‘the great Narayana, the soul of the universe, with a thousand omniscient eyes, at once being and not-being, brooding over the waters without form, supported by the thousand-headed snake of the infinite.’
但是，当梵天向这位看似至高无上的存在说话时，回答的声音是毗湿奴的声音：
But when Brahma addresses this apparently supreme being, the voice which answers is that of Vishnu:
你难道不知道我是纳拉亚纳（Narayana），世界的创造者、保护者和毁灭者，永恒的男性、不朽的源头和宇宙的中心吗？你本人是从我不朽的身体中诞生的。
‘Do you not know that it is I who am Narayana, creator, preserver and destroyer of worlds, the eternal male, immortal source and centre of the universe? You yourself were born from my imperishable body.’
最终湿婆加入了他们，并被毗湿奴视为“众神之神”。湿婆结束他的回答：
Eventually Siva joins them and is welcomed by Vishnu as the ‘god of gods’. Siva ends his reply:
“我，至高无上的不可分割的主，是三个......梵天，毗湿奴和湿婆：我创造，我保存，我毁灭。”
‘I, the supreme indivisible Lord, am three ... Brahma, Vishnu and Siva: I create, I preserve, I destroy.’
至此，印度教三大神实际上已经成为彼此可以互换的方面，就像同一个神的三个不同的面孔一样。
The three great Hindu divinities have by this time become virtually interchangeable aspects of each other, like three different faces of the same single god.
在公元前700 年至公元前 500年的几个世纪里，这种多种神祇被单一至高无上的存在所取代的趋势在许多不同的文化中日益盛行。这带来了一种全新的观念，即人类应该如何与超越其凡人、物质存在的看不见的维度建立联系。
During the centuries between 700 BC and 500 BC this tendency for all the multiplicities of gods to dissolve in favour of a single supreme being was gathering momentum in many different cultures. And this brought with it a wholly new perception of how mankind should relate to the unseen dimension beyond his mortal, physical existence.
在六世纪的中国，我们在孔子的学生老子的教义中看到了这一点。中国人已经开始将宇宙中的一切视为由两种对立原理（阳与阴）之间的相互作用组成：男性和女性、光明和黑暗、强和弱、统治和服从、上和下、固体和液体，热的和冷的。从这些角度来看，没有什么是看不到的。阳是创造，阴是完成，阳是想法，阴是其物质实现。然而两个对立面始终是一的两半所有的。如果在任何情况下，有一个原则占主导地位，那是因为宇宙平衡状态已经丧失。然后就会有向相反方向变得不平衡的趋势。老子的教导是，理解生命和宇宙的唯一方法是看到其中的一切最终都属于一个单一的、不可分割的生物体：“一”。生命的中心原则是“道”，“道”，与“一”合一，这意味着超越所有对立面，因为道是完美平衡的状态，其中对立面不再存在。道中阴阳合一。一切片面的看法和分裂都是虚幻的。必须超越所有分离存在的感觉，以实现与永恒的合一。
In China in the sixth century, we see this in the teachings of Lao-Tzu, a pupil of Confucius. The Chinese had already begun to view everything in the universe as being made up of the interplay between two opposing principles, the yang and the yin: male and female, light and dark, strong and weak, dominant and submissive, upper and lower, solid and fluid, hot and cold. There was nothing which could not be seen in these terms. Yang was creation, yin was completion, yang was the idea, yin its material realisation. Yet the two opposites were always two halves of one whole. If, in any context, one principle predominated, this was because the state of cosmic balance had been lost; and there would then be a tendency for it to become unbalanced in the opposite direction. The teaching of Lao-Tzu was that the only way to understand life and the universe was to see that everything in them ultimately belongs to a single, indivisible, living entity: ‘the One’. The central principle of life is ‘Tao’, ‘the Way’, to become at one with the One, which implies rising above all opposites, because the Tao is the state of perfect balance in which the opposites no longer exist. In the Tao the yin and the yang are one. All partial views and divisions are illusory. All sense of separate existence must be transcended, to achieve union with the One that is eternal.
印度通过被称为《奥义书》的印度教教义得出了非常相似的看法，这些教义于公元前 700年左右制定。向前。人类意识的分裂本质意味着我们被囚禁在玛雅中，这种幻觉状态来自于以对立的方式看待世界，而这种对立总是失去平衡。但我们内在有阿特曼，我们真正的自我，我们的那部分是阿特曼，宇宙灵魂的一部分。摆脱玛雅囚禁的唯一方法是达到超越所有个人欲望和主观意识扭曲的状态。这是涅槃状态，所有个人依恋都结束了，个体阿特曼可以与阿特曼完美结合，这是统治宇宙的完美意识状态。
A remarkably similar perception was being arrived at in India through the body of Hindu teachings known as the Upanishads, which were being set down from around 700 BC onwards. The divided nature of human consciousness means that we are imprisoned in maya, that state of illusion which comes from seeing the world in terms of opposites, which are always getting out of balance. But within us is the atman, our true Self, that part of us which is part of the Atman, the Universal Soul. The only way to escape imprisonment in maya is to reach the state where all individual appetites and distortions of subjective consciousness are transcended. This is the state of nirvana, where all personal attachments end, and where the individual atman can be rejoined in perfect union with the Atman which is the state of perfect consciousness ruling the universe.
印度教徒相信，在达到涅槃之前，每个单独的灵魂都注定要继续重生，呈现出不同的身体形态，如人类或动物，直到达到“启蒙”或完全意识的状态，从而使其能够实现释放到合一中。冥想或瑜伽的目的是为了达到那种光明的状态，瑜伽的目的来自梵语，意为“结合”（从中我们也得到“轭”，即“结合在一起”）。公元前六世纪在印度，有一个英雄的传说，一位王子，他通过冥想成功地从低级的个人自我中解放出来，如此致力于爱、无私和光明，以至于在生命的中途他获得了“启蒙” '。因此，他已准备好被带入天堂并成为不朽的，作为宇宙灵魂的一部分。但他无私地在地球上又待了 40 年，传播他的教义，告诉人们如何实现这种完美的光明状态。这就是佛陀，他成为全新宗教传统的核心典范。
Until the reaching of nirvana, the Hindus believed, each separate individual soul is doomed to continue being reborn, taking on different bodily forms, as humans or as animals, until it has reached the state of ‘enlightenment’ or complete consciousness which can enable it to released into the One. To work towards that state of illumination is the purpose of meditation or yoga, from the Sanskrit word for ‘union’ (from which we also get ‘yoke’, that which ‘joins together’). In the sixth century BC, there grew up in India the legend of a particular hero, a prince, who managed through his meditation to become so liberated from his lower, individual self, so dedicated to love, selflessness and the light, that midway through life he attained ‘enlightenment’. He was thus ready to be taken up into heaven and to become immortal, as part of the Universal Soul. But selflessly he remained on earth for another 40 years to spread his teachings as to how this state of perfect light can be achieved. This was the Buddha, who became the central exemplary figure of a whole new religious tradition.
我们在六世纪的波斯看到了类似的发展，先知琐罗亚斯德教导说，单一的光之精神统治着宇宙，驱散了笼罩所有物质存在的幻象的黑暗。在现在由巴比伦这座伟大城市所统治的美索不达米亚文明中，古老的多神教已经转变为一种以单一至高神马杜克或巴力为中心的一神教形式，其中较小的神被认为代表了特定的方面。在由亚述人统治的美索不达米亚北部，同样的趋势集中在他们的至高神阿舒尔身上。即使在传统神灵仍占主导地位的地中海希腊世界，赫拉克利特、恩培多克勒、毕达哥拉斯和巴门尼德等哲学家也在智力和精神上与问题作斗争。这与东方宗教所面临的问题惊人地相似。如果所有的创造物都处于永恒的变化、生长和腐烂的状态，我们怎么能在它们的背后看到一些不变和永恒的东西呢？既然世界由无数独立的实体组成，我们如何才能看到它们最终都归于“一”呢？12
We see a parallel development in sixth century Persia, where the prophet Zoroaster taught that a single spirit of light rules the universe, dispelling the darkness of illusion which shrouds all material existence. In the Mesopotamian civilisation now dominated by the great city of Babylon, the old polytheism had given to a form of monotheism centred on a single supreme spirit, Marduk or Baal, of whom lesser gods were considered to represent particular aspects. In northern Mesopotamia, dominated by the Assyrians, the same tendency centred on their supreme god Ashur. Even in the Mediterranean Greek world, where officially the traditional divinities still held sway, philosophers such as Heraclitus, Empedocles, Pythagoras and Parmenides were wrestling intellectually and spiritually with problems strikingly similar to those which were being confronted by the religions of the east. How, if all created things are in a permanent state of flux, growth and decay, can we see behind them something which is changeless and eternal? How, since the world consists of a myriad separate entities, can we see that they all ultimately resolve in the One?12
与此同时，当时新的宗教冲动在希腊世界以对狄俄尼索斯神的崇拜为中心的“俄耳甫斯之谜”中找到了最戏剧性的表现。宙斯的这个儿子长期以来一直是希腊神话的一部分，尤其与酒“使人失去自我”的作用联系在一起，许多故事都围绕着他，尤其是他是如何被宙斯处死的。其他神的嫉妒，然后通过他的父亲宙斯再次复活。但现在他的性格却变了。他开始以一种新的、更严肃的、更宇宙的面貌出现，就好像他被重新构想为一个新的、更重要的神一样。他在他的追随者中激起了一种“热情”或entheosiasmos的状态字面意思是“被神附身”。用历史学家普鲁塔克的话说，他对他们行使权力的关键在于：
Meanwhile the new religious impulse of the time was finding its most dramatic expression in the Greek world in the ‘Orphic mysteries’, centred on the cult of the god Dionysus. This son of Zeus had long been part of Greek mythology, associated particularly with the effect of wine to ‘take men out of themselves’, and many stories had been woven around him, not least that of how he had been put to death by the jealousy of the other gods, then brought back to life again, through his father Zeus. But now he had changed his character. He had come to be seen in a new, more serious, more cosmic guise, as if he had been re-conceived as a new and more significant divinity altogether. He aroused in his followers that state of ‘enthusiasm’ or entheosiasmos which literally means ‘being possessed by the god’. And the key to the power he exercised over them, in the words of the historian Plutarch, was that he was:
“被毁灭、消失、放弃生命然后重生的神。”
‘the god who is destroyed, who disappears, who relinquishes life and then is born again.’
第五世纪，雅典为了纪念狄俄尼索斯而举办了伟大的宗教戏剧节，启发了埃斯库罗斯、索福克勒斯和欧里庇得斯，创作出一些有史以来最伟大的戏剧，狄俄尼索斯逐渐被视为永生的象征。
Dionysus, in whose honour in fifth century Athens were staged the great religious theatrical festivals which inspired Aeschylus, Sophocles and Euripides to conceive some of the greatest plays ever written, had come to be viewed as a symbol of everlasting life.
“独一真神”
‘The one true God’
古代世界中有一个种族群体，他们早在其他种族之前就将宇宙视为由一位神灵统治，回到了史前时代的迷雾之中。这是居住在地中海东端的闪族人的一个分支，他们自称“以色列的子孙”。与所有其他民族一样，主要方式他们试图通过讲故事来定义自己的身份。这些活动所采取的最重要的形式是一代又一代地排练他们部落的历史，回到最初：回到世界被一个单一的造物主之灵——他们的神贾威——召唤而来的那一刻。但这些犹太故事与其他文化的故事之间存在两个显着差异。
There was one racial group in the ancient world which had seen the universe as ruled by a single divine being long before the others, back into the mists of prehistory. This was that branch of the Semitic peoples living at the eastern end of the Mediterranean who called themselves the ‘children of Israel’. As with all other peoples, the chief way in which they sought to define their identity was through telling stories. And the most important form these took was to rehearse the history of their tribe, generation by generation, back to the beginning: to that moment when the world was called into being by a single Creator-spirit, their god Jaweh. But between these Jewish stories and those of other cultures lay two significant differences.
第一个是雅威在多大程度上被视为以色列人民自己专有的神。虽然他一开始是一个普世的、创造世界的灵魂，但当他们的世界历史到达亚伯拉罕、以撒和雅各的传说时，很明显，耶和华和那些相信他已经挑选出来的人们之间已经建立了一种特殊的关系。他们为了独特的命运而奋斗。他们在耶路撒冷建造的圣殿是为了安置他们最神圣的宗教物品，即装有他们与上帝之间“盟约”记录的“方舟”或箱子。这种纽带在摩西带领“选民”脱离埃及的囚禁进入应许之地的故事中得到了巩固。我们已经看过申命记中的那一集摩西提醒他的追随者他如何登上这座大山，从上帝那里接受他们必须遵守的规则。乍一看，这些可能被视为十条绝对法则，旨在管辖所有人类行为。但摩西接着解释说，当犹太人到达应许之地时，他们会发现那里已经充满了其他民族，对他们来说，这里已经是他们的家园，因此必须“毫不怜悯”地对待他们。该法律不适用于这些外来部落。他们必须被杀死，他们的土地必须被夺走，他们神的祭坛必须被推翻。换句话说，“独一真神”首先被视为犹太神。犹太人与其他种族区别开来，并且高于所有其他种族。所有其他的神都只是“虚假的偶像”，应该受到蔑视。
The first was the degree to which Jaweh was seen as very much the proprietary god of the people of Israel themselves. Although he begins as a universal, world-creating spirit, by the time their world-history reaches the legends of Abraham, Isaac and Jacob, it is obvious that a special relationship has been established between Jahweh and the people who believe that he has singled them out for a unique destiny. Their most holy religious object, which their temple in Jersualem was built to house, was the ‘ark’ or chest containing a record of the ‘covenant’ between them and God; the bond which had been cemented in the story of Moses leading the ‘chosen people’ out of captivity in Egypt into the Promised Land. We have already looked at that episode in Deuteronomy where Moses reminds his followers how he had climbed the great mountain to receive from God the rules which they must obey. At first sight these might be taken as ten absolute laws, intended to govern all human behaviour. But Moses goes on to explain that when the Jews reach the Promised Land they will find it full of other peoples for whom it is already their homeland, and that they must be shown ‘no mercy’. The law does not apply to these alien tribes. They must be killed, their land taken from them and the altars of their gods overthrown. In other words the ‘one true God’ is seen as above all a Jewish god. The Jews are set apart from and above all other races. All other gods are just ‘false idols’, to be treated with contempt.
基督徒所谓的《旧约》中记载的犹太故事的另一个显着特征是，它在很大程度上受男性价值观的支配。我们已经看到犹太创世神话的独特之处在于，上帝在六天内像核对购物清单一样井然有序地展示了他的创造世界。这位“父神”是人类意识的命令功能的化身。女性的创造过程与其他文化的宇宙起源神话没有任何联系，在其他文化中，创造的世界是从一个黑暗的、无意识的矩阵中逐渐、费力地进化而来的。接下来的故事引人注目的是，其中女性价值经常缺席或被淡化。或者，如果必须出现的话，则以男性而非女性角色拟人化。当我们将这些旧约故事与希腊神话进行比较时，这一点尤其引人注目，希腊神话中的女性人物，如雅典娜、阿里阿德涅或佩内洛普，在象征赋予生命的女性价值方面发挥着核心作用。例如，在约瑟夫的故事中，当需要发挥爱和整体观的女性价值观来发挥作用以实现约瑟夫和他的兄弟的和解时，这并没有在女性形象中具体化。它必须通过将“小本杰明”变回原型儿童的折磨手段来召唤。正如我们所见，前往应许之地的旅程的故事在很多方面都是一个典型的探索。但是，在探索故事的结尾，人们通常可以期待与女性的象征性结合，传达完成和实现的形象，形象是以柔和、热情的姿态将目标描绘成一片“流淌着牛奶和蜂蜜”的土地。13在大卫的故事中，虽然扫罗通过米甲公主之手奖励他战胜歌利亚，但她并没有扮演更多的角色。大卫真正的回报是他与她的兄弟乔纳森（作为他的另一个自我）的挚爱友谊。事实上，这个故事中的女性元素主要体现在大卫本人的性格上，被精心描绘为结合了男性和女性特质。
The other distinctive feature of the Jewish story recorded in what Christians call the Old Testament is the exceptional degree to which it is dominated by masculine values. We have seen how the Jewish Creation myth is unique in the orderly way in which God sets out his created world in six days like checking off a shopping list. This ‘Father God’ is the ordering function of human consciousness personified. There is none of that female creative process associated with the cosmogonic myths of other cultures, where the created world is gradually, laboriously evolved out of a dark, unconscious matrix. And what is striking about the stories which follow is how often in them the feminine value is absent or downplayed; or, if it is has to be present, is personfied in a male rather than female character. This is particularly noticeable when we compare these Old Testament stories to the Greek myths, where female figures such as Athene, Ariadne or Penelope play such a central role in symbolising the life-giving feminine value. In the story of Joseph, for instance, when it is necessary for the feminine values of love and seeing whole to be called into play to bring about the reconciliation of Joseph and his brothers, this is not personified in a feminine figure. It has to be conjured up by the tortured device of turning ‘little Benjamin’ back into an archetypal Child. The story of the journey to the Promised Land, as we have seen, is in many ways an archetypal Quest. But where, at the end of a Quest story, one could normally expect a symbolic union with the feminine, to convey the image of completion and fulfilment, the nearest the story can come up with to a feminine image is to portray the goal, in soft, welcoming guise, as a land ‘flowing with milk and honey’.13 In the story of David, although Saul rewards him for his victory over Goliath with the hand of the Princess Michal, she plays little further part. David’s real reward is his loving friendship with her brother Jonathan, as his alter-ego. In fact the feminine element in this story is chiefly personified in the character of David himself, so carefully depicted as combining both masculine and feminine qualities.
这种男性价值观的优势当然给《旧约》所呈现的犹太人历史赋予了很大的色彩。这个故事有两个特点是我们特别熟悉的。第一个是“上帝选民”为了保卫自己免受敌人的无休止的暴力斗争，特别是非利士人，还有那些两次俘虏他们的邻近文明，埃及人和巴比伦人。另一个是他们僵化的、法律主义的道德最终如何建立在报复法中不屈不挠的男性原则之上。：犯罪必须以同样的报应来偿还，以眼还眼，以牙还牙。在这个民族的“统治意识”中，同情、仁慈和理解等柔和的女性价值观几乎没有立足之地。当女性在这些故事中确实扮演重要角色时，她们往往会被以负面的方式呈现（例如，妖精黛利拉、狂怒的泼妇耶洗别），或者以“积极”的男性风格，比如黛博拉，她被描绘成她的人民中强硬的母系领袖。士师记，或以斯帖，波斯皇帝薛西斯的妻子，她通过勇敢的聪明才智将她的犹太同胞从危险的屠杀中拯救出来。也有例外，如《路得记》中所记载的那样，丧偶的非犹太女主角动人地坚持陪伴她的婆婆回到犹太（她在那里嫁给了一个犹太丈夫）；在《所罗门之歌》中，女性被神秘地描绘成她完整的、鼓舞人心的阿尼玛角色，作为男人的灵魂。14然而，总的来说，他们的故事给我们描绘的是一个表面上被力量和秩序等硬性男性价值观所统治的民族。他们个人身份最重要的决定性特征是他们是部落群体的成员，与其他所有人区分开来。用原型术语来说，他们因此成为一个严厉、无情的“父神”所代表的民族，与其说代表了与全人类同等重要的普遍自我，不如说代表了他们自己的集体自我身份的表达和神圣化，从而产生了“自我-自我混淆”的一个深刻例子。
This preponderance of the masculine value of course colours much of the history of the Jewish people presented by the Old Testament. Two features of this story are particularly familiar to us. The first is how much of it is taken up by the endless violent struggle of ‘God’s chosen people’ to defend themselves against their enemies, notably the Philistines, but also those neighbouring civilisations which twice took them into captivity, the Egyptians and the Babylonians. The other is how their rigid, legalistic morality rested ultimately on the unyielding masculine principle of the lex talionis: the idea that a crime must be paid out by identical retribution, an eye for an eye, a tooth for a tooth. There is little place in the ‘ruling consciousness’ of this people for the softer feminine values of compassion, mercy and understanding. Where women do play a significant role in these stories, they tend to be presented negatively (e.g., the Temptress Delilah, the raging virago Jezebel) or in an ‘active’ masculine fashion like Deborah, portrayed as tough matriarchal leader of her people in the Book of Judges, or Esther, wife of the Persian emperor Xerxes, who saves her Jewish compatriots from a treacherous massacre through her brave ingenuity. There are exceptions, as in the Book of Ruth, where the widowed non-Jewish heroine movingly insists on accompanying her mother-in-law back to Judaea (where she marries a Jewish husband); and the Song of Solomon where, untypically, the feminine is mystically portrayed in her full, inspiring anima role as the soul of man.14 In general, however, the picture we are given by their storytelling is of a people outwardly dominated by the hard masculine values of strength and order. The most important defining characteristic of their individual identity was their membership of the tribal group, set apart from all others. In archetypal terms, they had thus become a people whose stern, unrelenting ‘Father God’ represented not so much the Universal Self, of equal relevance to all mankind, but more an expression and sanctification of their own collective ego-identity, giving rise to a profound example of ‘ego-Self confusion’.
人成为神
Man becomes god
犹太人并不是唯一一个在讲故事中反映出男性意识偏见的民族。当罗马人从希腊人手中接管他们的万神殿和大部分神话时，值得注意的是，希腊人赋予女性的角色变得不那么突出了。希腊世界最著名的城市可能是以智慧女神命名的，但当罗马人将雅典娜重新命名为密涅瓦时，她在他们的集体生活中的重要性明显下降。希腊神话所体现的人类心理动态力量的许多微妙之处都变得模糊了。在将海王星尊为海神的过程中，罗马人忽视了他的前任波塞冬作为“黑暗之父”象征所扮演的极其重要的角色。木星的作用，作为男性力量和权威的化身，与希腊人给予宙斯的东西相比，它变得明显更具统治力，更不易受到挑战。相当于战神阿瑞斯的火星的作用也变得更加突出。在各个方面，我们都看到男性与女性的平衡发生了有利于男性的转变，这可以在最伟大的罗马诗歌维吉尔的《埃涅阿斯纪，他们相当于奥德赛。
The Jews were not the only people whose storytelling reflected a bias towards masculine consciousness. When the Romans took over their pantheon of gods and much of their mythology from the Greeks, it is noticeable how the role the Greeks accorded to the feminine became less prominent. The most famous city of the Greek world may have been named after the goddess of wisdom, but when the Romans renamed Athene as Minerva she became markedly less significant in their collective life. Much of the subtlety with which the Greek mythology had personified the dynamic forces in the human psyche becomes blurred over. In making Neptune their sea-god, the Romans lost sight of that hugely important role played by his predecessor Poseidon as symbolic of the ‘Dark Father’. The role of Jupiter, as the incarnation of masculine power and authority, becomes markedly more dominant and less open to challenge than that which the Greeks had given to Zeus. The role of Mars, equating to Ares as god of war, also becomes more prominent. On all sides we see a shift of the masculine-feminine balance in favour of the masculine, and this can be seen clearly reflected in the greatest single Roman poem, Virgil’s Aeneid, their equivalent to the Odyssey.
罗马人发展了两个完全不同的故事来解释他们城市的起源。其中一个传说是关于双胞胎孤儿罗慕路斯和雷穆斯如何由母狼哺乳和抚养长大的传说。这隐约让人想起人类最初从自然状态中出现的过程。罗穆卢斯最终长大并建立了以他的名字命名的城市。维吉尔大力发展的另一个“民族神话”讲述了罗马人如何真正是特洛伊人的后裔，以及埃涅阿斯从冒烟的特洛伊废墟中逃出来后如何建立他们的城市。《奥德赛》中没有更微妙的元素比波塞冬和雅典娜之间的较量更重要。一个是英雄的主要对手，试图阻止他回家，另一个是他的主要盟友，让他接触自我认识，最终使他能够实现目标。在《埃涅阿斯纪》中，英雄的主要对手是众神女王朱诺，罗马赫拉，她的角色是“黑暗母亲”。例如，是她安排他爱上了寡居的黛朵女王，她的阉割魅力几乎足以让埃涅阿斯忘记他建立一座新城市的使命。从原型的角度来看，这向我们表明埃涅阿斯的任务不是发现自我认识。是为了从“黑暗女性”中赢得自己独立的男子气概。他的主要盟友不是智慧女神，而是爱神维纳斯。
The Romans evolved two quite separate stories to explain the origins of their city. One was the legend of how the orphaned twin babies Romulus and Remus had been suckled and brought up by a she-wolf. This obscurely recalled the primordial emergence of humankind from the state of nature; and Romulus eventually grew up to found the city which took his name. The other ‘national myth’, so powerfully developed by Virgil, told how the Romans were really descended from the Trojans, and how their city had been founded by Aeneas after he had escaped from the smoking wreck of Troy. There had been no subtler element in the Odyssey than the contest between Poseidon and Athene. One is the hero’s chief antagonist, trying to prevent him reaching home, the other his chief ally, putting him in touch with the self-knowledge which eventually enables him to reach his goal. In the Aeneid, the hero’s chief antagonist is Juno, queen of the gods, the Roman Hera, in her role as ‘Dark Mother’. It is she, for instance, who arranges for him to fall in love with the widowed Queen Dido, whose emasculating charms are almost enough to make Aeneas forget his mission to establish a new city. This shows us, in archetypal terms, that Aeneas’s task is not to discover self-knowledge. It is to win his independent manhood from the ‘dark feminine’. And his chief ally is not the goddess of wisdom but Venus, the goddess of love.
当故事接近高潮时，它带有“以色列子民”抵达应许之地的回声。埃涅阿斯和他的部下的主要任务是克服所有已经居住在那里的部落的反对，建立他们的新城市。但作为他们最终成功的象征，埃涅阿斯已经赢得了最强大的意大利部落之一的支持，并承诺娶他们国王的女儿拉维尼亚。这就是为什么在埃涅阿斯与敌对部落首领图努斯的对决中，悬停在行动上的守护女神是维纳斯。当他最终取得胜利时，我们想象他将继续与拉维尼娅结婚并建立他的新城市，这将是故事的幸福结局。但我们只剩下假设这一点。我们没有看到它。故事以图努斯的死而结束。将此与荷马为《奥德赛》提供的响亮结论进行比较，我们可以看到希腊版本在探索潜在原型方面取得了多么深刻的成功。有一个故事展示了主人公发展到个人所能达到的最完整的个人成就状态。相比之下，另一个只不过是二维连环漫画或好莱坞电影：娱乐性宣传，旨在强化罗马人的集体自我形象，当时他们刚刚建立了世界上最强大的帝国。
As the story approaches its climax, it carries echoes of the ‘children of Israel’ arriving in the Promised Land. The main task of Aeneas and his men is to overcome the opposition of all the tribes already living there, to establish their new city. But as a token of their eventual success Aeneas has already won the support of one of the most powerful Italian tribes, by promising to marry Lavinia, their king’s daughter. This is why the tutelary goddess hovering over the action in Aeneas’s showdown with Turnus, the leader of the opposing tribes, is Venus. When he is finally victorious, we imagine he will go on to marry Lavinia and found his new city, and that this is to be the happy ending of the story. But we are only left to assume this. We are not shown it. The story ends simply with Turnus’s death. Compare this with the resounding conclusion Homer provides to the Odyssey, and we see just how much more profoundly the Greek version succeeds in exploring the underlying archetype. One story shows its hero developing to the most complete state of personal fulfilment of which an individual human being is capable. The other in comparison is no more than a two-dimensional strip cartoon or a Hollywood film: entertaining propaganda designed to reinforce the collective self-image of the Romans just when they had established the most powerful empire the world had ever seen.
使罗马人能够做到这一点的品质首先是力量、秩序、权力和组织等男性价值观，罗马文明在随后的历史中一直与这些价值观相一致。当我们想到罗马时，我们会想到罗马军团、横亘大地的笔直道路、精湛的工程、罗马法、军事征服的胜利纪念碑。我们想到的是一种高度物质主义的文明，也致力于身体的享受、热水浴和壮观的娱乐，以及“面包和马戏”：这种文明最终衰败，因为它的内心变得柔软，失去了使之能够生存的阳刚和意志的统一。统治世界并被不断扩散的官僚机构所窒息，这是罗马组织能力的消极一面。公元前。
The qualities which enabled the Romans to do this were above all those masculine values of strength and order, power and organisation, with which Roman civilisation has been identified all through subsequent history. When we think of Rome, we think of Roman legions, die-straight roads carving across the landscape, superb engineering, Roman law, triumphant monuments to military conquests. We think of a highly materialistic civilisation, dedicated also to physical pleasures, hot baths and spectacular entertainments, to ‘bread and circuses’: a civilisation which eventually decayed because it became soft within, losing the virility and unity of will which had enabled it to dominate the world and choked by that proliferating bureaucracy which was the negative side of the Roman ability to organise. But all this was still far ahead when Virgil spent the last 11 years of his life writing his great epic poem in celebration of Roman power, before his death in 19 BC.
八年前，维吉尔的朋友屋大维在公元前44 年他的叔叔朱利叶斯·凯撒被暗杀后的内战中成为罗马事实上的领导人，他被元老院授予奥古斯都皇帝的称号，“最威严的领袖”。 '。这使他成为第一位罗马皇帝。公元前12年，为了完成他对世间最高权力的获得，奥古斯都还成为罗马宗教的正式领袖大主教。他逐渐被数百万臣民尊为半神人物。公元 14年他去世后，转变完成，他被正式宣布成为神。
Eight years earlier Virgil’s friend Octavian, who had become de facto leader of Rome in the years of civil war which followed the assassination of his uncle Julius Caesar in 44 BC, was granted by the Senate the title of Augustus Imperator, ‘the most august leader’. This made him the first Roman Emperor. In 12 BC, to complete his attainment of supreme earthly power, Augustus also became Pontifex Maximus, the official head of the Roman religion. Increasingly he was being revered by his millions of subjects as a semi-divine figure. On his death in 14 AD the transformation became complete, when he was officially declared to have become a god.
早期文明中的其他祭司国王，特别是埃及的法罗亚，被赋予了神圣的地位，因为他们在仪式上与统治世界的看不见的超自然存在很接近。但这是历史上第一次以相反的方式应用这一原则：一个凡人对他前所未有的尘世力量如此认同，以至于他凭借自己的权利被提升为神。根据赫拉克利特所认识到的原则，万事万物在达到极端时都会产生相反的趋势，就在奥古斯都庞大帝国的一个偏远村庄里，一个默默无闻的小男孩正在成长，他的数十亿追随者在未来的几个世纪里将成为世界上最伟大的人。宣称他不是“人造神”，而是“上帝创造了人”。
Other priest-kings in earlier civilisations, notably the Phaoroahs of Egypt, had been accorded divine status, because of their ceremonial closeness to the unseen supernatural beings who ruled the world. But this was the first time in history that the principle had applied the other way round: where a mere mortal had become so identified with his unprecedented earthly power that he was elevated to become a god in his own right. By that principle which Heraclitus had recognised as the tendency of everything when it reaches its extreme to produce its opposite, at that very moment in a remote village in Augustus’s vast empire an obscure young boy was growing up whose billions of followers over the centuries ahead would declare that he was not ‘man made god’ but ‘God made man’.
神成为人
God becomes man
如果我们从其潜在原型的角度来看待耶稣的故事，我们可以在三个相关的标题下这样做。首先，有所谓的“基督神话”，故事中的那些元素具有熟悉的神话维度。其次，他的行为和教导代表了原型心理学。第三，他死后他的追随者对这一切的解释方式。
If we look at the story of Jesus in terms of its underlying archetypes, we can do so under three related headings. First, there is what may be called the ‘Christ myth’, those elements in the story which are of familiar mythic dimension. Second, there is what his actions and teachings represent in terms of archetypal psychology. Thirdly, there is the way in which all this was interpreted by his followers after his death.
基督生平故事本身的“神话”元素集中在三个主要情节上。其中最重要的无疑是围绕他生命的每一端、他的出生和死亡的事件。但在他们之间发生了一个令人好奇的揭露事件，显示了他受到“魔鬼”的诱惑。
The ‘mythic’ element in the story of Christ’s life itself centres on three chief episodes. Easily the most important of these are the events surrounding each end of his life, his birth and death. But between them comes the curiously revealing episode which shows his temptations by ‘the Devil’.
1. 诞生
1. The Birth
随着耶稣的诞生，我们立刻就回到了熟悉的原型基础上。与他之前的其他神话英雄一样，例如宙斯的儿子珀尔修斯和赫拉克勒斯，他生来就是神圣父亲和人类母亲的儿子。因此，他是半神、半凡人。在与他的诞生相关的意象中，我们看到来到这个世界的是那个典型的救赎人物，永恒的孩子：这个毫无防备的纯真形象象征着生命的更新，唤起了我们所知道的最深刻的原型反应之一。
With Jesus’s birth we are at once on familiar archetypal ground. Like other mythic heroes before him, such as Perseus and Hercules, the sons of Zeus, he is born the son of a divine father and a human mother. He is therefore half-god, half-mortal. In the imagery associated with his birth, what we see coming into the world is that archetypal redeeming figure, the Eternal Child: that image of defenceless innocence symbolising the renewal of life which evokes one of the deepest archetypal responses we know.
在更深的原型层面上，伦勃朗在国家美术馆的场景画中传达了基督诞生的形象。摇篮里的婴儿耶稣被柔和的灯光照亮，而画面中的其他一切在周围的黑暗中几乎看不见。基督被描述为“山洞里的宝藏”，是照亮世界黑暗的光源。
At a still deeper archetypal level, the image of Christ’s nativity is that conveyed by Rembrandt in his painting of the scene in the National Gallery. The infant Jesus in his cradle is softly illuminated while everything else in the picture is almost invisible in surrounding darkness. Christ is represented as the ‘treasure in the cave’, the source of light shining in the darkness of the world.
诞生象征意义的另一个重要特征是它在“线下”发生的方式。“在线上”，奥古斯都皇帝本人代表了地上权力巅峰的统治意识，下令对罗马帝国的每个人进行人口普查或点名。在遥远的巴勒斯坦，一对微不足道的夫妇，约瑟夫和玛丽，被迫从他们的村庄前往伯利恒登记，那里有很多其他人也在做同样的事情，以至于他们被进一步推到了社会框架之外，被迫在一个单纯的动物马厩中寻找庇护所。唯一认识到正在发生的事情的宇宙意义的人是一群卑微的牧羊人：直到后来“来自东方的智者”加入了他们，
Another crucial feature of the symbolism of the birth is the way it takes place ‘below the line’. ‘Above the line’, the Emperor Augustus himself, representing the ruling consciousness at the very pinnacle of earthly power, has decreed a census or roll-call of everyone in the Roman empire. Below the line, in faraway Palestine, an insignificant couple, Joseph and Mary, are thus forced to travel from their village to register in Bethlehem, where so many others are doing the same that they are pushed even further beyond the social pale, in being forced to find shelter in a mere stable for animals. The only people who recognise the cosmic significance of what is going on are a group of humble shepherds: until later they are joined by ‘wise men from the East’, from that Mesopotamian civilisation which finds spiritual guidance in the movement of heavenly bodies, and who represent that ‘higher consciousness’ which recognises it is ‘below the line’ that truth is to be found.
最后一个典型元素是耶稣诞生后不久，希律王坚决要处死他。再次，就像在宙斯、珀尔修斯、赫拉克勒斯、罗慕路斯等人的神话中一样，我们认识到新生英雄的生命受到黑暗力量威胁的模式。“黑暗之王”正试图扼杀“光明之王”。但在一次“惊心动魄的死里逃生”中，婴儿被父母带到埃及的安全地带。因此，他满足了“英雄原型”中另一个反复出现的要素：注定要成为国王的英雄，如忒修斯、俄狄浦斯等人，应该在青年时代度过被驱逐出祖国的时光。
A final archetypal element is the determined effort by King Herod shortly after Jesus’s birth to have him killed. Again, as in the myths of Zeus, Perseus, Hercules, Romulus and others, we recognise the pattern whereby the life of the new-born hero is threatened by the dark power. The ‘Dark King’ is attempting to stifle the ‘Light King’. But in a ‘thrilling escape from death’, the baby is carried by his parents to safety in Egypt. He thus fulfils yet another recurring ingredient in the ‘hero archetype’: that which dictates that the hero destined to become king, like Theseus, Oedipus and others, should spend time in his youth exiled from his homeland.
2. 诱惑：自我与自我
2. The temptations: ego versus Self
英雄以正常的方式成长为男子汉，唯一的标志是在他十几岁的时候，他解释经文的权威令当地犹太教堂的长老们感到惊讶。但后来，当他终于准备向世界揭示他的信息时，故事中的第二个“神话”段落出现了，这是一个梦幻般的情节，独自一人进入荒野接受魔鬼的考验。他受到三个诱惑：用他的神力将石头变成面包；他应该从圣殿屋顶跳下去，这样他就可以通过天使的拯救来展示他的力量；当他被提升到“高处”，向“世界各国”展示时，他就能获得统治它们的权力。
The hero grows up to manhood in normal fashion, marked out only by the episode when, in his early teens, he astonishes the elders in his local synagogue by the authority with which he expounds the scriptures. But then, when he is finally ready to reveal his message to the world, comes the second ‘mythic’ passage in the story, the dream-like episode when goes out alone into the wilderness to be put to the test by the Devil. He is offered three temptations: that he should use his divine power to turn stones into bread; that he should throw himself off the temple roof, so that he can demonstrate his power by being saved by angels; and that, when he is taken up ‘into a high place’ to be shown ‘all the kingdoms of the world’, he can be given the power to rule over them.
这是人类想象力史上的一个重要时刻。作为“上帝的对立面”的“撒旦”形象以前曾出现在犹太传说中，尤其是在约伯记的故事中。15但这个诱惑者形象从来没有如此公开地、以如此不妥协的个人形象出现过。他是人类自我所有奸诈、自欺、自我毁灭力量的完全化身。他现在能被以如此极端的方式描绘成英雄的“黑暗对立面”，是因为在之前的故事中，英雄从未被如此毫不妥协地描绘成自我的化身（也许是唯一的例外）是印度佛陀的传说）。耶稣立即拒绝了这三种诱惑，这表明他完全认同真我，没有自我可以受到诱惑。他当然不会把石头变成面包，因为他所代表的东西与在外在的物质世界中获得优势无关。他只关心人类精神的内部领域。同样，他也不会仅仅以拯救自己的名义来炫耀自己的力量。同样，他对对“世界王国”行使权力没有兴趣，因为他的信息涉及一个完全不同的“王国”：每个人类个体内部的精神领域，与对他人行使权力无关。
This is a significant moment in the history of the human imagination. The figure of ‘Satan’, as ‘God’s opposite’, has appeared before in Jewish legend, most notably in the story of Job.15 But never before has this Tempter-figure emerged so openly and in such uncompromisingly personal guise. He is a complete personification of all the treacherous, self-deceiving, self-destructive power of the human ego. And the reason he can be now be portrayed in such an extreme way, as a ‘dark opposite’ to the hero, is that in no story before has the hero ever been portrayed so uncompromisingly as a personification of the Self (perhaps the only exception is the Indian legend of the Buddha). In rejecting the three temptations out of hand, Jesus shows he is so completely identified with the Self that he has no ego to be tempted. Of course he will not turn stones into bread, because what he stands for has nothing to do with gaining advantage in the outward, material world. He is concerned solely with the internal realm of the human spirit. Equally he will not be party to a spectacular demonstration of his power simply in the name of saving himself. Again he has no interest in exercising power over the ‘kingdoms of the world’ because his message is concerned with a wholly different ‘kingdom’: that spiritual domain within each human individual which has nothing to do with the exercise of power over other people.
这一信息的革命性之处在于，它如此精确地针对人类心理学的核心问题，因为它也是讲故事所解决的核心问题，我们在这本书中一直在研究这个问题。他并不关心听众的外在地位，也不关心他们属于哪个种族或社会群体。他将每个人视为一个个体，在所有人类都以完全平等的条件开始的内在层面上（正如我们在故事中看到的那样）。在这个层面上，无论一个人是罗马帝国的统治者还是卑微的渔夫，唯一重要的问题是他们是什么样的人。他们的内心如何应对作为人类的挑战？他们是以自我为中心还是以自我为中心？他们是否软弱、以自我为中心、无情、贪婪、虚荣、骄傲、残忍、奸诈、卑鄙、好色、脾气暴躁、报复心强、不宽容、心胸狭隘、缺乏幽默感、懒惰、不负责任、最终不成熟？或者他们是否集中在更深层次的自我超越的人格层面，这可以使他们坚强、无私、有爱心、慷慨、谦虚、谦虚、富有同情心、忠诚、理解、幽默、自律、性情平和，仁慈、宽容、勤奋、有责任心、最终成熟？
What was revolutionary about this message was that it was directed so precisely to that central problem of human psychology at which, because it is also the central problem addressed by storytelling, we have been looking at all through this book. He was not concerned with his hearers’ outward status, or to which race or social grouping they belonged. He was addressing each as an individual, on that inner level where all human beings start off on completely equal terms (exactly as we see them portrayed in stories). On this level, the only question which matters, whether someone is ruler of the Roman empire or a humble fisherman, is what sort of a person they are. How do they measure up inwardly to the challenge of what it is to be human? Are they centred on the ego or on the Self? Are they weak, self-centred, heartless, greedy, vain, proud, cruel, treacherous, mean-spirited, lustful, bad-tempered, vengeful, intolerant, narrow-minded, humourless, lazy, irresponsible and ultimately immature? Or are they centred on that deeper ego-transcending level of the personality which can make them strong, selfless, loving, generous, modest, self-effacing, compassionate, loyal, understanding, good-humoured, self-disciplined, even-tempered, merciful, tolerant, hard-working, responsible and ultimately mature?
耶稣的信息的本质（其中大部分以比喻或故事的形式表达）是，对于我们任何人来说，这是唯一重要的考验。我们的个性是以自我还是本我为中心？正是因为他认为这种区别至关重要，所以他能够在其信息的核心提出另一个革命性的想法：那些听到它的人的首要责任是“悔改”他们的“罪恶” ’（正如我们所见，他的希腊语单词是hamartia，“缺少标记”）。这意味着他们必须培养自我意识，认识到自我中心在我们所有人类思维和行为中所扮演的角色是多么普遍。只有通过这种自我理解，我们才能正确地认识到我们本性中的另一个“中心”：以及自我主义在多大程度上阻碍了我们“击中目标”，实现我们有潜力成为的人。只有这样，我们才能体会到耶稣不断宣称的两个最高的人类价值观：爱和真理：无私的爱的能力和客观地看待世界的能力，不受主观扭曲的能力。换句话说，正是我们在整个讲故事中看到的两个关键原则被表现为“女性价值”：无私的感觉和“看到整体”的能力。他坚持认为，为了达到可以实现这一目标的状态，需要真正的意志力和自律：换句话说，就是故事所代表的男性价值观。因此，他的信息的本质是，人类个体发展的最高状态只能通过男性和女性品质的结合来实现。缺一不可，缺一不可。这只是我们在讲故事的原型模式的核心看到的该信息的另一个版本（正如我们在奥德赛和其他西方和东方的例子早在基督教之前就已经很明显了）。
The essence of Jesus’s message, much of it put across in the form of parables or stories, was that, for any of us, this is the only test which matters. Is our personality centred on the ego or the Self? And it was because he viewed this distinction as of such crucial importance that he was able to come up with that other revolutionary idea at the heart of his message: that the first responsibility of those who heard it was to ‘repent’ of their ‘sins’ (for which, as we have seen, his word in Greek was hamartia, ‘missing the mark’). What this meant was that they must develop the self-awareness to recognise just how all-pervasive a part egocentricity plays in all our human thinking and behaviour. Only through this self-understanding can we properly appreciate the other ‘centre’ in our nature: and how far egotism holds us back from ‘hitting the mark’, in realising that which we have the potential to become. Only then can we appreciate what Jesus constantly proclaimed as the two supreme human values, love and truth: the capacity for selfless love and the ability to see the world objectively, free from subjective distortion. In other words, precisely those two key principles we see represented all through storytelling as ‘the feminine value’: selfless feeling and the ability to ‘see whole’. And to achieve the state where this can be realised, he insisted, requires real strength of will and self-discipline: in other words, those values which stories represent as masculine. The essence of his message was thus that the highest state of individual human development can only be achieved through a combination of masculine and feminine qualities. One cannot be fully developed without the other. It is simply another version of that message we see at the heart of the archetypal patterns of storytelling (and which, as we see in the Odyssey and other examples, both western and eastern, was evident long before Christianity).
讲故事的原型结构的第三个回响是耶稣坚持认为，人们充分发挥人类潜力的唯一方法是避免与生活“高于界限”相关的所有心理陷阱。这就是为什么他不断重申，只有那些内心对自己有“线下”看法的人才能继承内在的“天国”：那些他所描绘的“贫穷”和“温顺”的人，那些那些思考和感觉“像小孩子一样”的人并不骄傲。从表面上看，耶稣对“越界”的世俗权力没有任何争论。他将罗马百夫长视为“权威”。当他们给他带来一枚带有皇帝头像的硬币，希望他能发表一些颠覆性的评论时，他毫不犹豫地说“凯撒的物归凯撒”是正确的。在外部世界，凯撒作为一个行使权力和权威的人，应该受到尊重和服从。但区分凯撒的外在王国和仅由上帝统治的心灵的内在王国是至关重要的。他不断指出，认识到内在王国的最大障碍是所有那些自我中心的诱惑，这些诱惑不可避免地伴随着财富、世俗权力、社会地位、牧师等级或任何外在的东西。人格面具很容易让人产生一种优于他人的优越感和“超凡脱俗”的感觉。
A third echo of the archetypal structure of storytelling was Jesus’s insistence that the only way for people to realise their full human potential is by avoiding all the psychological pitfalls associated with living ‘above the line’. This is why he constantly reiterated that only those who inwardly have a ‘below the line’ view of themselves can inherit that ‘kingdom of heaven’ which lies within: those whom he portrayed as the ‘poor’ and the ‘meek’, those who are not proud, those who think and feel ‘as little children’. In outward terms, Jesus had no argument with that worldly power which is ‘above the line’. He respected the Roman centurion as one ‘in authority’. When they brought him a coin bearing the image of the emperor, hoping he might pass some subversive comment, he did not hesitate in saying it was right to ‘render unto Caesar what is Caesar’s’. In the outward world, as one exercising power and authority, Caesar should be respected and obeyed. But it was vital to make the distinction between that outer kingdom which was Caesar’s and that inner kingdom of the psyche, which should be ruled only by God. And the greatest obstacles to recognising that inner kingdom, he constantly pointed out, are all those temptations to egotism which inevitably come with riches, worldly power, social position, priestly rank or any of the outward persona trappings which can so easily engender a sense of superiority to others and of being ‘above the line’.
阅读耶稣在传播信息时游历巴勒斯坦的故事，它们传达的中心印象是他如何被描绘成心理上完整的。就图中所示的四个功能而言故事构成了人类的完整性，他在所有方面都得分很高。他总是表现出强大和威严，说话充满权威。他遵守纪律，有严格的秩序感；每当他受到挑战或质疑时，他的头脑就非常敏锐。他是完全无私的：充满爱心、富有同情心，对他人的需求很敏感，就像他总是试图帮助受苦者或治愈病人一样。他总是表现出直觉的理解，这使他能够将发生的一切与一个统一的世界观联系起来，以上帝为中心，他将上帝描绘成一位理想的人类父亲。
Reading the stories of Jesus wandering through Palestine in the years when he was putting over his message, the central impression they convey is how he is portrayed as psychologically complete. In terms of the four functions shown in stories as making up human wholeness, he scores fully on all counts. He is always shown as strong and commanding, speaking with authority. He is disciplined, with an exact sense of order; his mind whenever he is challenged or questioned is razor sharp. He is wholly selfless: loving, compassionate and sensitive to the needs of others, as when he invariably tries to help the suffering or heal the sick. And he always shows that intuitive understanding which enables him to relate everything which happens to one unified view of the world, centred on that God whom he portrays as like an ideal human father.
事实上，耶稣所呈现的上帝形象没有真正的先例，因为它以如此完美的平衡结合了自我的四种原型属性。他所描绘的这个统治宇宙的神秘存在的形象是一个不知何故全能、全知、全爱和全视的存在：以完美的等式展现力量、秩序、同情心和理解。耶稣自身形象的力量在于他在福音书中如何被描绘成具有相同属性平衡的人类化身。他如此完全地认同“整体”的状态，即“自我”，以至于当他将自己称为“道路、真理和生命”时，他使用“道路”一词，就像老子所说的“道路”一样。涛'。他本人代表了全人类都渴望达到的整体状态。
In fact the image of God presented by Jesus had no real precedent, in that it combines in such perfect balance the four archetypal attributes of the Self. The picture he conveyed of this mysterious presence ruling the universe was of a being which is somehow all-powerful, all-knowing, all-loving and all-seeing: displaying strength, order, compassion and understanding, in perfect equation. The power of Jesus’s own image lies in how he is portrayed in the Gospels as a human embodiment of the same balance of attributes. So completely is he identified with the state of ‘wholeness’ which is the Self that when he speaks of himself as ‘the way, the truth and the life’, he uses the word ‘way’ much as the Lao-Tzu speaks of ‘Tao’. He himself represents that state of totality to which all human beings can aspire. This was why his ‘first commandment’ to his followers was that they must love God with the same equation of attributes: ‘with all thy heart, with all thy soul, with all thy mind and with all thy strength’.
但从定义上来说，这种完整性的象征是对自我的侮辱，这是统治意识无法理解的。接下来，当耶稣的三年教导结束时，我们会看到当统治意识最终对这种挑战失去耐心时会发生什么。
But such a symbol of wholeness is, by definition, an affront to the ego, something the ruling consciousness cannot understand. What we see next, when Jesus’s three years of teaching are up, is what happens when the ruling consciousness finally loses patience with the challenge this presents.
3. 死亡与复活：不朽的自我
3. Death and resurrection: the immortal Self
故事的最后一个神话情节以耶稣在世的最后一周为中心。他前往圣城耶路撒冷，这是犹太世界的象征中心。然后我们看到的展开是典型的悲剧五阶段循环的完美例子。期待阶段是他为这至高无上的时刻做的准备。当他骑着毛驴进入城市时，我们看到了梦想舞台，受到了疯狂欢呼的人群的欢迎。沮丧阶段在《最后的晚餐》上空笼罩着不祥的预感中达到了顶峰，而在客西萨马尼花园里，他必须内心地面对前方的恐怖。反对派的力量正在密集地反对他。噩梦阶段始于他被犹大背叛并被大祭司的武装卫兵逮捕。故事继续，他因亵渎罪而受到一边倒的审判，他遭受肉体折磨，并受到正派但软弱的罗马总督本丢·彼拉多的审讯，外面的暴徒嚎叫着要他的血。毁灭阶段开始于他被带出城，被罗马士兵钉死在两名普通罪犯之间，经过三个小时的痛苦之后，他死亡了。
The final mythic episode in the story is that which centres on the last week of Jesus’s earthly life. He travels up to Jerusalem, the holy city which is the symbolic centre of the Jewish world. And what we then see unfolding is a perfect example of the archetypal five-stage cycle of Tragedy. The Anticipation Stage has been his preparation for this supreme moment. We see the Dream Stage when, as he enters the city on a donkey, he is welcomed by wildly cheering crowds. The Frustration Stage reaches its height in the air of foreboding which hangs over the Last Supper, and when, in the garden of Gethesamane, he must inwardly face up to the horror of what lies ahead. The forces of opposition are constellating against him. The Nightmare Stage begins with his betrayal by Judas and his arrest by the High Priest’s armed guards. It continues with his one-sided trial for blasphemy, his subjection to physical torture and his interrogation by the decent but weak Roman governor Pontius Pilate, with the mob outside howling for his blood. The Destruction Stage begins when he is led out of the city to be crucified by Roman soldiers between two common criminals and, after three hours of agony, he meets his death.
令人震惊的是，这似乎完全颠倒了悲剧的模式。悲剧原型的目的是展示当人类被黑暗所占据时会发生什么自我认为，最终他们会带来自己的毁灭，以便恢复团结，光明战胜黑暗。然而，正如故事中所描绘的，耶稣是完全没有自我的。故事中的黑暗全在他之外。因此，他在十字架上的死似乎是黑暗的彻底胜利。但当然，重点就在于此。尽管黑暗力量可能成功地杀死了他在尘世外在状态中的生命，但这并不是他的真实身份，而是在于他与自我完全合一：那个永恒且无法被摧毁的整体。因此，当第三天到来时，他再次出现，沐浴在永恒的柔和光芒中，这是他复活后所有外表的特征。他战胜了死亡，因为实际上他一直是不死之物的一部分。16
What is so striking is that this appears to be such a complete inversion of what the pattern of Tragedy is about. The purpose of the tragic archetype is to show what happens when human beings become so possessed by the darkness of the ego that in the end they bring about their own destruction, so that unity can be restored and light triumph over darkness. Yet Jesus, as portrayed in the story, is wholly ego-free. The darkness in the story is all outside him. Thus his death on the cross seems to be a total victory for darkness. But herein, of course, lies the point. Although the dark power may have managed to kill him in his earthly outward state, this is not his true identity, which lies in the fact that he is so completely at one with the Self: that totality which is eternal and which cannot be destroyed. Accordingly, when the third day comes, he reappears, bathed in that soft light of eternity which characterises all his appearances after the resurrection. He has overcome death because in reality he has always been part of that which cannot die. And he is then taken up into heaven to merge with the One.16
世界上许多地方都有这些神话中最著名的故事，讲述了死去又重生的神的故事，至此结束了。在埃及版本中，伟大的神奥西里斯被自己的黑暗部分——他的兄弟塞特处死，但随后又复活了。是他的儿子荷鲁斯完成了这个故事，为他的父亲报了仇，从而克服了死因。在希腊版本中，狄俄尼索斯是“上帝之子”，被父亲处死后又复活，代表着不可摧毁的无限生命力量。
Thus ends the most famous of all those myths, found in many parts of the world, telling of the god who dies and is reborn. In the Egyptian version, the great god Osiris had been put to death by the dark part of himself, his brother Set, but then brought to life again. It was his son Horus who had completed the story, by avenging his father and thus overcoming the cause of death. In the Greek version it was Dionysus, also the ‘son of god’, who had been put to death and then been brought back to life by his father, representing the boundless power of life which cannot be destroyed.
用原型的术语来说，耶稣的神话表明，在演绎悲剧的模式时，他如何演绎了所有被囚禁在自我意识中的人类必须死亡的模式。然而，它也表明，只要他们能够与自己超越自我意识的无私部分接触，这种“罪”的状态就随着“堕落”和人类从与自然的无意识统一中出现而来到世界上。 ，他们可以与那种一体的状态重新结合，这种状态不会死亡，因为它是永恒的。用圣保罗在基督教葬礼仪式中所用的话来说，“正如在亚当里所有人都会死，同样，在基督里所有人都将复活”。在这方面，他实践了自己的说法：“人没有比为朋友舍命更伟大的爱”，耶稣的死也代表了世界宗教中另一个反复出现的伟大特征，即以牺牲生命作为“牺牲”、“治愈”的做法。在无数的宗教中，动物和人类的生命在仪式上被献给神灵，作为治愈神与人之间的分离的一种方式。祭祀动物，就像替罪羊一样，应该承担部落或个人的所有罪行和缺陷，从而使那些献祭的人得到“净化”，并恢复被破坏的团结。17故事说，耶稣承担了全人类的“罪孽”，从而“救赎”了整个世界。但这样的解读与其说它属于故事本身，不如说它属于后来的故事，当死去并重生的上帝的神话成为一些截然不同的东西的中心灵感时：被称为“宗教”的故事基督教'。
In archetypal terms, the myth of Jesus shows how, in acting out the pattern of Tragedy, he acted out the pattern of how all human beings imprisoned in ego-consciousness must die. Yet it also shows how, if only they can make contact with the selfless part of themselves which lies beyond ego-consciousness, that state of ‘sin’ which only came into the world with the ‘Fall’ and mankind’s emergence from unconscious unity with nature, they can be reunited with that state of One-ness which cannot die because it is eternal. In the words of St Paul used in the Christian burial service, ‘as in Adam all die, even so in Christ shall all be made alive’. In this respect, acting out his own statement that ‘greater love hath no man than that he lay down his life for his friends’, Jesus’s death also represents that other great recurring feature in the religions of the world, the practice of offering life as a ‘sacrifice’, a ‘making whole’. In innumerable religions, the lives of animals and humans have been ritually offered to the gods as a way of healing the separation between gods and men. The sacrificial animal, like the scapegoat, was supposed to carry with it all the offences and imperfections of the tribe or the individual, thus leaving those who had offered the sacrifice ‘cleansed’ and restoring the unity which had been broken.17 In taking upon himself the ‘sin’ of all mankind, the story ran, Jesus had ‘redeemed’ the whole world. But this kind of interpretation belongs not so much to the story itself as to what was to be made of it in later years, when the myth of the God who had died and been reborn became the central inspiration for something rather different: the story of the religion known as ‘Christianity’.
基督教“超越界限”
Christianity ‘above the line’
在接下来的三个世纪里，虽然“死而复生的人神”的故事传遍了整个罗马帝国，甚至传到了印度和中国，但那些追随“道”的人的宗教仍然远远“低于世俗”。线'。在罗马的地下墓穴中，这些新的“基督徒”实际上进入了地下。在那段时间里，建立在耶稣生平故事基础上的新信仰逐渐建立了自己的集体意识。保罗是一位来自深受希腊影响的小亚细亚地区的犹太人，他在塑造这一信息方面发挥了关键作用，强调它与传统犹太教的区别，因为它的上帝同样是人类每一个成员的“父亲” ，“犹太人或外邦人，奴隶或自由人”。它的中心仪式是围绕分享面包和酒的行为而正式化的，象征着所有基督徒在基督的“神秘身体”的“一体”中聚集在一起。基督教的另一个最高象征是十字架，它不仅代表上帝与全人类之间的“赎罪行为”或“合一”的工具，而且本身也是完整性的四个角的象征。因此，当基督徒画出“十字的记号”时，他们将自己“集中”在一个标志着人类性格的四个组成部分结合在一起的行为中：身体、思想、心灵和灵魂。18
Over the next three centuries, although the story of ‘the man-God who died and was reborn’ spread all over the Roman empire and even to India and China, the religion of those who followed ‘the Way’ remained very much ‘below the line’. In the catacombs of Rome these new ‘Christians’ literally went underground. During that time the new faith, built on the stories of Jesus’s life, gradually built up its own collective consciousness. Paul, a Jew from the heavily Greek-influenced region of Asia Minor, played a key part in shaping the message, emphasising what a break it marked from traditional Judaism, in that its God was equally ‘father’ to every member of the human race, ‘Jew or Gentile, slave or free’. Its central ritual was formalised round the act of sharing bread and wine, symbolising the coming together of all Christians in the ‘one-ness’ of Christ’s ‘mystical body’. The other supreme Christian symbol was the cross, representing not just the instrument of his ‘act of atonement’ or ‘at-One-ment’ between God and all mankind, but as itself a four-cornered symbol of wholeness; so that, as Christians made the ‘sign of the cross’, they were ‘centring’ themselves in an act which marks a bringing together of the four components of the human personality: body, mind, heart and soul.18
在明显的方面，新宗教继承了犹太教的“男性”偏见，因为它以“圣父”、“圣子”和“圣灵”的男性三位一体为中心，与世界其他地方的其他神圣三位一体一样，被视为三位一体。一位神的不同方面。但在这背后，反映了基督自己的教导中“女性”的核心意义，第四个人物很快就与男性三位一体密切相关，玛丽，“父亲的妻子”，“儿子的母亲”，代表了所有的原型一个理想化、慈爱的人类母亲的特质。在受难之后，在基督教象征主义中，没有什么形象比“圣母与圣子”的形象更重要了。尽管作为处女，玛丽也代表着阿尼玛。同样重要的是三位一体的第三位成员圣灵的神秘本质。顾名思义，这个神秘的存在代表着“整体精神”，所有那些吸引人类与“一”融合的精神力量。就其潜在原型而言，“圣灵”因此代表了自我的动态力量。但由于没有任何原型比阿尼玛更能完整地象征这一点，它是女性的最高体现。就价值而言，“神圣精神”根据定义必须包含一种强烈的、即使是伪装的女性成分。后来，当个别基督徒试图将引导他们走向完整的精神力量拟人化时，这一点就变得明显了，就像四世纪作家波伊提乌斯想象的“索菲亚”一样，这位令人敬畏的人物打开了他的眼睛，看到了精神理解的“光”。她就像雅典娜之于希腊人一样，是智慧精神的女性化身。希腊世界最伟大的基督教圣地，即君士坦丁皇帝在博斯普鲁斯海峡岸边建立的罗马帝国新中心，是一座供奉“神圣智慧”圣索菲亚大教堂的大教堂。
In obvious respects the new religion inherited from Judaism its ‘masculine’ bias, in that it centred on a male trinity of ‘Father’, ‘Son’ and ‘Holy Spirit’, regarded, like other divine trinities elsewhere in the world, as three different aspects of one single God. But behind this, reflecting the central significance of the ‘feminine’ in Christ’s own teaching, a fourth figure soon became closely related to the male trinity, Mary, ‘wife of the Father’, ‘Mother of the Son’, representing all the archetypal attributes of an idealised, loving human mother. After the crucifixion itself, no image was to play a more central part in Christian symbolism than the representation of the ‘Holy Mother and Child’; although, as a virgin, Mary also represents the anima. Equally significant was the enigmatic nature of the third member of the trinity, the Holy Spirit. As its name implies, this mysterious being represents the ‘spirit of wholeness’, all those psychic forces which draw human beings towards integration with the One. In terms of its underlying archetype, the ‘holy spirit’ thus represents the dynamic power of the Self. But since no archetype symbolises this more completely than the anima, as supreme embodiment of the feminine value, the ‘holy spirit’ must by definition include a strong, if disguised, feminine component. This was later to become manifest when individual Christians sought to personify the spiritual power guiding them to wholeness, as when the fourth century writer Boethius imagined the awe-inspiring figure opening his eyes to the ‘light’ of spiritual understanding as ‘Sophia’. She was as much a feminine embodiment of the spirit of wisdom as Athene had been to the Greeks. And it was apt that the greatest Christian shrine in the Greek world, in that new centre of the Roman empire set up on the banks of the Bosphorus by the emperor Constantine, was to be a cathedral dedicated to Hagia Sophia, ‘holy wisdom’.
公元四世纪初期，就在戴克里先皇帝为重建古老的希腊罗马诸神的地位而做出最后的无情但绝望的努力之后，戏剧性的时刻出现了，即公元 312 年。米尔维安桥之战最终确认了他作为罗马帝国唯一统治者的地位，君士坦丁梦见了基督的十字架，并伴随着传说“ In hoc vinces”'：'在这个星座你将征服'。次年，在他的《米兰法令》中，基督徒首次在整个帝国获得了充分的公民权利，而三个世纪前，基督教的创始人就被处死了。324年，君士坦丁宣布基督教为其官方宗教，六年后建立了他的“君士坦丁城”君士坦丁堡，作为其新首都。基督教最终从“线下”迈向“线上”，以至于在接下来的 2000 年的大部分时间里，它都塑造了欧洲文明的统治意识。
In the early years of the fourth century AD, just after the emperor Diocletian had made a last ruthless but forlorn effort to re-establish the status of the old Graeco-Roman gods, came the dramatic moment in 312 when, on the eve of the battle of the Milvian Bridge which was finally to confirm him as sole ruler of the Roman empire, Constantine had a dream of the cross of Christ, accompanied by the legend ‘In hoc vinces’: ‘in this sign you shall conquer’. The following year, in his Edict of Milan, for the first time Christians were given full civil rights throughout the empire which had put the founder of their religion to death three centuries before. In 324 Constantine declared Christianity to be its official religion, and six years later established his ‘city of Constantine’, Constantinople, as its new capital. In one mighty bound, Christianity had finally moved from ‘below the line’ to being so ‘above the line’ that it was to shape the ruling consciousness of European civilisation for much of the next 2000 years.
天堂、地狱和审判
Heaven, hell and judgement
即使在君士坦丁大帝之前的一个世纪，罗马帝国就已经受到了罗马世界视为“线下”的其他存在的攻击：那些居住在“荒地”的麻烦的哥特人、汪达尔人、法兰克人、阿勒曼尼人和匈人部落。中欧和东欧的边界。一个世纪后，统治地中海世界和半个欧洲长达七个世纪的世俗大国陷入了最终的解体。罗马城本身多次遭到“野蛮部落”的洗劫和掠夺，直到 476 年最后一位西方皇帝（以罗马城创始人罗穆卢斯的名字命名）被废黜。在西方，罗马帝国唯一幽灵般的遗产是教皇权，它仍然是基督教会的统治权力。以君士坦丁堡为中心的东方帝国，
Even in the century before Constantine, the Roman empire had already been under attack from that other presence which the Roman world viewed as ‘below the line’: those troublesome tribes of Goths, Vandals, Franks, Alemanni and Huns who inhabited the ‘badlands’ of central and eastern Europe beyond its frontiers. A century later the great secular power which had dominated the Mediterranean world and half of Europe for seven centuries was in terminal disintegration. The city of Rome itself was repeatedly sacked and pillaged by the ‘barbarian hordes’, until in 476 the last western emperor, tellingly named after the city’s founder Romulus, was deposed. In the west the only ghostly legacy of Rome’s imperium was the Papacy, which remained the ruling power of the Christian church. The eastern empire, centred on Constantinople, lived on to enjoy a last sunset moment of glory in the early sixth century, in the reign of Justinian, before beginning its long fade into that twilight which would only end 900 years later.
从阿拉伯半岛的沙漠到南部，七世纪见证了世界上最后一个伟大的新一神论宗教的突然崛起。伊斯兰教（意思是个人自我“服从”上帝的意志）吸收了犹太教和基督教的元素，同时省略了其他元素。这个诞生于严酷的沙漠世界的新宗教具有犹太教明显的“男性化”特征，强调服从、仪式、法律和纪律。因此，基督教对爱和同情的强调几乎没有立足之地，基督教正是通过爱和同情来软化和“女性化”它最初发源的犹太教。但是，与犹太教不同，伊斯兰教不认为自己只是一个部落群体的宗教。它与基督教一样具有传教士般的热情，要改变全人类的信仰。事实上，先知穆罕默德所释放的爆炸性新精神力量的力量如此之大，以至于在他去世后的一个世纪内，他的武装追随者不仅席卷了北非和西班牙，而且似乎即将占领西欧的大部分地区直到 732 年，他们的进攻在图尔被法兰克人阻止。但在许多方面，凭借其智力活力、艺术、建筑和数学以及对希腊知识的保存，这个新的南方文明的意识将在 300 年内超越西方世界的其他文明。
From the deserts of the Arabian peninsula to the south, the seventh century saw the sudden meteoric rise of the world’s last great new monotheistic religion. Islam (meaning ‘submission’ of the individual ego to the will of God) took on elements of both Judaism and Christianity, while omitting others. Born in the harsh world of the desert, the new religion shared the overtly ‘masculine’ character of Judaism, with its emphasis on obedience, rituals, law and discipline. It thus had little place for that emphasis on love and compassion by which Christianity had softened and ‘feminised’ the Judaism from which it originally sprang. But, unlike Judaism, Islam did not see itself as the religion just of one tribal group. It shared with Christianity a missionary zeal to convert the whole of mankind. Indeed, such was the power of the explosive new spiritual force unleashed by the prophet Mohammed that, within a century of his death, his armed followers had not only swept through North Africa and Spain but seemed on the verge of taking over much of western Europe, until in 732 their advance was halted by the Franks at Tours. But in many ways, with its intellectual vitality, its art, architecture and mathematics and its preservation of Greek learning, the consciousness of this new southern civilisation was to outshine the rest of the western world for 300 years.
西欧失去了长期以来为其带来秩序和文明的统一力量，现在彻底陷入了所谓的黑暗时代。罗马文化遗产的残余在那些从未属于罗马帝国一部分的日耳曼人和挪威人的扩张主义面前迅速崩溃：法兰克人，他们将自己的名字命名为法国；占领不列颠岛大部分地区的盎格鲁人和撒克逊人；来自斯堪的纳维亚半岛的黄麻人、丹麦人、瑞典人和维京人。但即使在这些黑暗和混乱的时代，基督教仍然继续取得自己的进步，就像在七世纪时，最终以他们的名字命名的“英格兰”的新统治者皈依了基督教，放弃了条顿诸神。英语世界仍然以他的名字命名一周中的每一天。19在那些世纪的迷雾中，留下了一些非凡的故事，尤其是本书开头的八世纪盎格鲁撒克逊史诗《贝奥武夫》。
Bereft of that unifying power which for so long had brought it order and civilisation, western Europe was now firmly plunged into what became known as the Dark Ages. The remains of the Roman cultural inheritance rapidly crumbled before the expansionism of those Germanic and Norse peoples who had never been part of the Roman empire: the Franks, who gave their name to France; the Angles and Saxons who occupied much of the island of Britain; Jutes, Danes, Swedes and Vikings from Scandinavia. But even in these dark and confused times, Christianity continued to make its own advances, as when in the seventh century the new Anglo-Saxon rulers of what would eventually be named after them as ‘England’ were converted to Christianity, abandoning the Teutonic gods after whom the English-speaking world still names its days of the week.19 And out of the mists shrouding those centuries have survived some remarkable stories, not least that Anglo-Saxon epic dating from the eighth century with which this book began, Beowulf.
贝奥武甫的故事分为两部分。第一个故事讲述了主人公如何从海外来到希奥罗特，战胜了两个致命的怪物：首先是半人类的格伦德尔，然后是他更可怕的母亲，他们在湖底进行了一场激烈的战斗。巢穴。这场胜利之后，贝奥武甫获得了精雕细琢的黄金作为奖励，并被拥立为自己人民的国王，他作为人民敬爱和尊敬的领袖统治了人民 50 年。用典型的术语来说，故事的前半部分展示了贝奥武夫击败了象征性的黑暗“儿子和母亲”的组合，代表着不成熟。作为一个年轻人，他表现出了充分发展的男子气概的品质，使他有资格成为一个坚强、明智和成熟的父亲形象。但当他老了，生命即将结束时，新的情节出现了，其性格完全不同。一条可怕的龙在他王国的一个地下洞穴中守护着一件巨大的宝藏，它从漫长的睡眠中被打扰了。这只怪物从巢穴中扑腾而出，对王国造成了毁灭性的破坏，甚至用其炽热的气息烧毁了贝奥武夫的大厅。贝奥武甫在他勇敢的年轻亲戚维格拉夫的陪伴下，鼓起力量，准备进行最后一场伟大的战斗。经过两次回合后，贝奥武夫成功地对巨龙造成了致命伤，他强大的祖先剑也碎成了碎片。怪物发动了第三次攻击，让贝奥武夫体内充满了致命的毒液。年轻的威格拉夫赶赴救援，帮助贝奥武夫消灭了怪物，垂死的英雄凝视着他们杀死的“蠕虫”的强大尸体，为他们如何为了人民的利益解放了它所守护的宝藏而欣喜若狂。他宣布维格拉夫有资格继承他的王位，然后去世。悲伤的人们将他的尸体放在柴堆上，并将骨灰埋在俯瞰大海的岬角上的一个大手推车里，这是“人类所能建造的最好的墓穴”。除了回忆他的男子气概外，他们还记得他是“所有国王中最温柔、最仁慈的人，对人民最友善的人”。年轻的威格拉夫帮助贝奥武夫消灭了怪物，垂死的英雄凝视着他们杀死的“蠕虫”的强大尸体，为他们如何为了人民的利益而解放了它所守护的宝藏而欣喜若狂。他宣布维格拉夫有资格继承他的王位，然后去世。悲伤的人们将他的尸体放在柴堆上，并将骨灰埋在俯瞰大海的岬角上的一个大手推车里，这是“人类所能建造的最好的墓穴”。除了回忆他的男子气概外，他们还记得他是“所有国王中最温柔、最仁慈的人，对人民最友善的人”。年轻的威格拉夫帮助贝奥武夫消灭了怪物，垂死的英雄凝视着他们杀死的“蠕虫”的强大尸体，为他们如何为了人民的利益而解放了它所守护的宝藏而欣喜若狂。他宣布维格拉夫有资格继承他的王位，然后去世。悲伤的人们将他的尸体放在柴堆上，并将骨灰埋在俯瞰大海的岬角上的一个大手推车里，这是“人类所能建造的最好的墓穴”。除了回忆他的男子气概之外，他们还记得他是“所有国王中最温柔、最仁慈的人，对人民最友善的人”。悲伤的人们将他的尸体放在柴堆上，并将骨灰埋在俯瞰大海的岬角上的一个大手推车里，这是“人类所能建造的最好的墓穴”。除了回忆他的男子气概之外，他们还记得他是“所有国王中最温柔、最仁慈的人，对人民最友善的人”。悲伤的人们将他的尸体放在柴堆上，并将骨灰埋在俯瞰大海的岬角上的一个大手推车里，这是“人类所能建造的最好的墓穴”。除了回忆他的男子气概外，他们还记得他是“所有国王中最温柔、最仁慈的人，对人民最友善的人”。
The story of Beowulf falls into two parts. The first tells of how its hero comes from overseas to save the land of Heorot by overcoming two deadly monsters: first the semi-human Grendel, then his even more terrible mother, after a mighty battle at the bottom of the lake which had been their lair. After this victory, Beowulf is rewarded with finely-wrought gold and made king over his own people, whom he rules as their loved and revered leader for 50 years. In archetypal terms, this first half of the story has shown Beowulf defeating that symbolic dark combination of ‘son and mother’ which represents immaturity. As a young man he has demonstrated those attributes of fully developed manhood which qualify him to become a strong, wise and mature father-figure. But then, when he is old and nearing the end of his days, comes a new episode, quite different in its character. A fearful dragon, guarding a great treasure in an undergound cave in his kingdom, is disturbed from its long sleep. The monster flaps forth from its lair, wreaking devastation on the kingdom, even burning Beowulf’s great hall with its fiery breath. Beowulf summons up his strength and prepares for his last great battle, accompanied by his brave young kinsman Wiglaf. After two bouts, Beowulf has succeeded in inflicting mortal wounds on the dragon, when his mighty ancestral sword shatters in pieces. The monster unleashes its third attack, filling Beowulf with deadly poison. Rushing to the rescue, young Wiglaf helps Beowulf to finish off the monster and the dying hero gazes on the mighty corpse of the ‘Worm’ they have slain, exulting at how they have liberated the treasure it was guarding, for the benefit of his people. He declares Wiglaf worthy to succeed him to the kingdom, then dies. His sorrowing people place his body on a pyre and bury his ashes in a great barrow on a headland looking over the sea, ‘the finest vault that men could build’. Apart from recalling his manly deeds, they also remember how ‘of all kings’ he had been ‘the gentlest and most gracious of men, and kindest to his people’.
这个结局的值得注意之处在于龙如何清晰地象征死亡本身。它第一次从睡梦中苏醒，对贝奥武夫的王国造成了毁灭性的破坏，这代表了年龄增长对身体的影响，最终贝奥武夫被迫屈服于它不可抗拒的力量。但即使他死了，他也知道他已经杀死了可怕的对手，从而为他的人民赢得了生命的巨大财富。他在年轻英雄的帮助下做到了这一点，在帮助他赢得这场巨大胜利的过程中，他证明了自己有资格继承王国。
What is remarkable about this concluding episode is how the dragon clearly personifies death itself. Its first stirring from sleep to wreak devastation over Beowulf’s kingdom represents the physical effects of advancing age, and eventually Beowulf is forced to succumb to its irresistible power. But even as he dies he also knows that he has slain his fearful antagonist, thus winning the great treasure of life for his people. And he has done so with the aid of the young hero who, in assisting him to win this mighty victory, has shown himself worthy to succeed to the kingdom.
在这方面，基督徒写的《贝奥武夫》的故事（正如我们从诗中的内部证据中看到的那样）呼应了基督的故事，展现了一个强大的英雄，他在死去的同时也克服了死亡。但除了敷衍地提到他的“灵魂离开身体去接受正义的奖赏”之外，没有进一步的迹象表明贝奥武夫本人在任何更明显的个人意义上“继续存在”。从本质上讲，他的结局与3000年前的伟大英雄吉尔伽美什没有太大不同，吉尔伽美什在徒劳地寻找不朽生命的秘密后，年老而死，身体疲惫不堪，但他的人民哀悼他们最伟大和最聪明的人国王。事实上，这也让人想起，在讲故事的历史上，看到一个故事以英雄年老而告终是多么不寻常。更为人们所熟悉的是这两个伟大的原型结局，它们显示男主人公要么最终与女主人公幸福地结合在一起并“从此幸福地生活在一起”，要么因“错过目标”而“悲惨地”过早地死去。在这一点上，我们必须考虑一下，过去一千年中意识发生的巨大变化是如何为这个长期存在的难题提供答案的：人类死后会发生什么？
In this respect, the story of Beowulf, written by a Christian (as we can see from internal evidence in the poem), echoes the story of Christ, in showing a mighty hero who, in dying himself, at the same time overcomes death. But apart from a perfunctory reference to his ‘soul leaving his body to receive the reward of the just’, there is no further indication that, as a result, Beowulf himself ‘lives on’ in any more obvious personal sense. In essence his ending is not portrayed very differently from that 3000 years before of the great hero Gilgamesh who, having sought in vain for the secret of immortal life, dies of old age, physically worn out but mourned by his people as their greatest and wisest king. Indeed this may also recall just how unusual it is in the history of storytelling to see a story which ends with its hero’s death from old age. Infinitely more familiar are those two great archetypal endings which show the hero either ending up happily united with the heroine and ‘living happily ever after’, or dying ‘tragically’ and prematurely as a result of his ‘missing the mark’. And at this point we must consider just how the immense changes in consciousness which had come about in the preceding 1000 years had provided answers to that perennial puzzle: what happens to human beings when they die?
正统基督教对这个问题的回答是，随着基督的死和复活，一切都不同了。根据基督教信条，早在君士坦丁将基督教定为罗马帝国国教的那一年，基督被钉十字架后就“下到地狱”来对抗死亡的权势。但在“第三天”，他又复活了，战胜了死亡，因此每个基督徒都可以期待分享他的复活，享受永生。根据耶稣本人的各种教义，这种信仰得到了进一步的完善。当每个人死去时，他们的“灵魂”——他们人格的非物质本质——将面临关于他们在地球上如何生活的神圣审判。如果他们被发现按照基督教的方式生活得很好，他们可以期待被接进天堂，与上帝一起享受永恒的幸福。如果他们被发现失败了，或者“没有达到目标”，他们就会面临“诅咒”，注定要被送入地狱，面对魔鬼永恒惩罚的恐怖。
The orthodox Christian answer to this question was that, following Christ’s death and resurrection, everything was now different. According to the Christian creed, dating back to the year after Constantine made Christianity the official religion of the Roman empire, after Christ’s crucifixion he had ‘descended into hell’ to confront the power of death. But on ‘the third day’ he had risen again, having conquered death, as a result of which every Christian could look forward to sharing in his resurrection to enjoy eternal life. Based on various of the reported teachings of Jesus himself, this belief had then been further refined. As each person died, their ‘soul’ – the non-physical essence of their personality – would face a divine judgement as to how they had lived on earth. If they were found to have lived well, according to the Christian way, they could look forward to being received into heaven, to enjoy eternal happiness with God. If they were found to have failed, or to have ‘missed the mark’, they faced ‘damnation’, doomed to be sent down to hell to face the horror of eternal punishment with the devil.
事实上，这个想法并没有什么基督教特有的。它的背后是一个回到历史迷雾中的原型模型。在一千多年前的中国古代，人们就已经相信，当人死后，他们将面临一个审判，判断他们是否按照“天命”生活了。如果获得批准，他们就可以住在神宫周围的天庭花园里，吃仙桃树上的果子。如果失败了，他们就会在冥界受到应有的惩罚。古希腊人设想了类似的审判形式，那些生活得特别英勇的人可以在极乐世界中分享永恒，而那些特别邪恶的人，比如西西弗斯，将在地狱王国中面临永恒的惩罚。对于大多数人来说，除了地狱之外什么也没有，死者的灵魂生活在虚幻的暮色中，只有当一些尘世的访客，比如奥德修斯，能够通过给他们喝人血来激活他们时，他们才能够说话（就好像死者只能短暂地被带回一个世界）当他们被地球上还活着的人记住时，他们的生活的样子）。很少有像赫拉克勒斯这样的凡人，他们在地球上的表现是如此异常英勇，以至于当他们死后，他们被允许加入众神之中，被列为“不朽”。
In fact there was nothing uniquely Christian about this idea. Behind it lay an archetypal model which went back into the mists of history. In ancient China, well over 1000 years earlier, there had already been a belief that when individuals died they faced a judgement as to how well they had lived in accordance with the ‘Mandate of Heaven’. If approved, they could live in the heavenly garden surrounding the palace of the gods, eating from the Peach Tree of Immortality. If they failed, they faced appropriate punishment in the underworld. The ancient Greeks envisaged a similar form of judgement, whereby those who had lived particularly heroically could share eternity in the Elysian Fields, while those who had been particularly wicked, like Sisyphus, faced eternal punishment in the kingdom of Hades. For the majority there was nothing but limbo, where the shades of the dead lived in an insubstantial twilight, only able to speak if some earthly visitor, such as Odysseus, was able to animate them by giving them human blood to drink (as if the dead can only be brought back briefly to a semblance of life when they are remembered by those still alive on earth). Very rarely there were also mortals, such as Hercules, whose performance on earth was so exceptionally heroic that, when they died, they were allowed to join the gods, to be numbered among the ‘immortals’.
根据印度的宗教传统，死者将面临另一种形式的“审判”，根据他们的生活方式，他们可能会转世到其他物质存在中，无论是作为一个人，无论地位高低。比他们以前的存在，或者作为某种形式的动物。20只有那些达到了完全“开悟”的非凡灵魂，也就是超越了所有尘世依恋的涅槃，才有希望完全从凡人的存在中解脱出来，重新与世界灵魂融为一体。
According to the religious tradition of India, another form of ‘judgement’ awaited the dead in that, according to how they had lived, they could expect to be reincarnated in some other physical existence, either as a human being, higher or lower in status than their previous existence, or as some form of animal.20 Only those exceptional spirits who had reached complete ‘enlightenment’, that nirvana which marked the transcending of all earthly attachments, could hope for release from mortal existence altogether, in merging back into indivisible union with the World Soul.
就这些不同的心灵图景背后的基本原型而言，我们可以看到他们如何不断地试图调和两种截然不同的观点。一方面，只有当人类摆脱与自然的无意识统一而与所有其他动物分离时，这个问题才首先出现。直到那时，人类个体才开始发展出以自我为中心的独立存在感，这使他们意识到有一天这种存在必须结束。然而，人类宗教冲动背后的根本驱动力是解决自我意识与仍然认同“一”的心灵无私水平之间的分裂。无意识试图告诉他们什么，尤其是通过讲故事的意象，
In terms of the fundamental archetype underlying these various mind-pictures, we can see how they were constantly trying to reconcile two very different perspectives. On one hand it was only when mankind became separated from all other animals in emerging from unconscious unity with nature that this problem had arisen in the first place. Only then had individual human beings begun to develop that sense of their own separate existence, centred on the ego, which made them aware that one day this existence must come to an end. Yet the fundamental drive behind men’s religious impulse was to resolve that split between ego-consciousness and the selfless level of their psyche which still identified with the ‘One’. What the unconscious was trying to tell them, not least through the imagery of storytelling, was that living through the ‘darkness’ of the ego must lead eventually to death, and that only by transcending ego-consciousness was it possible to reconnect with the ‘light’ of that unity which is eternal and indestructible.
因此，根据第一种观点，人类只是所有造物背后的普遍精神的转瞬即逝的体现，就像浮出池子表面的气泡一样。随着死亡，每个气泡的个性都会消失，但它所出现的池子却保留了下来。这一观点在本章开头引用的《西藏度亡经》中对佛教僧侣的指示中得到了总结：
By this first view, therefore, human beings are merely fleeting embodiments of that universal spirit which lies behind all creation, like bubbles coming to the surface of a pool. With death the individuality of each bubble dissipates, but the pool it emerged from remains. This view is summed up in the instruction given to Buddhist monks in the words from the Tibetan Book of the Dead quoted at the head of this chapter:
尝试让自己沉浸在这种光芒中，放弃对独立自我的所有信仰以及对虚幻自我的所有依恋。认识到这个真实现实的无限之光就是你自己的真实自我，你就会被拯救。
‘Try to submerge yourself in that light, giving up all belief in a separate self and all attachment to the illusory ego. Recognise that the boundless Light of this true Reality is your own true self, and you shall be saved.’
另一方面，自我意识的力量和每个人都享有独特存在的感觉如此普遍，以至于很难摆脱这样的希望：在某种程度上，死亡可能并不标志着人类的灭绝。个人性格; 每个人的一些非物质本质，即“灵魂”，在死后可能仍然存在。这就是为什么那些史前坟墓里藏有食物和其他物质财产，以帮助死者穿越到坟墓之外那个神秘的“另一个世界”。这就是为什么一个又一个的宗教都设想了“来世”，个体的灵魂或灵魂可以在那里永远生存。而且，这一想法因他们将根据他们在地球上的生活方式而受到奖励或惩罚的想法进一步完善。这源于那种被编码到无意识中的原型模式，它告诉我们，靠自我生活最终必然导致毁灭，而按照自我生活则将我们与永恒的“一”重新联系起来。
On the other hand, so all-pervasive is the power of ego-consciousness and the sense that each human being enjoys a unique existence, that it has been difficult to shake off the hope that in some way death might not mark the extinction of the individual personality; and that some non-physical essence of each person, the ‘soul’, might still carry on after death. This was why those prehistoric tombs had contained food and other material possessions, to assist the dead when they crossed over into that mysterious ‘other world’ beyond the grave. This was why one religion after another had conceived of an ‘after-life’, where individual souls or spirits might live for eternity. And this became further refined by the idea that they would here be rewarded or punished according to how they had lived their lives on earth. This sprang from that archetypal pattern, coded into the unconscious, which tells us that to live by the ego must lead ultimately to destruction, whereas to live in accordance with the Self reconnects us with ‘the One’ which is eternal. Hence the idea in folklore that the hero or heroine who meet all the archetypal requirements which connect them to the Self will ‘live happily ever after’: because they are now identified with that ego-transcending part of them which lives forever.
在东方宗教中，所有生命最终都是一体且不可分割的这一意义是通过这样一种信仰来表达的：当每个人放弃对生命的控制时，坚不可摧的物质就会通过在另一个世界中的“转世”而呈现出新的身体形式。生物。但即使在这里，自我意识的力量仍然占有一席之地，因为从一个身体转移到另一个身体的灵魂仍然被视为拥有自己的个体本质；除非或直到那当它获得如此完整的意识，以至于它可以与世界灵魂、宇宙之光融为一体时，那一刻就会到来。
In the eastern religions this sense that all life is ultimately one and indivisible had been expressed through the belief that, as each human being relinquishes its hold on life, so that indestructible substance takes on new bodily form through its ‘re-incarnation’ in another creature. But even here the power of ego-consciousness retained its hold, in that the soul which passes from one physical body to another was still viewed as possessing its own individual essence; unless or until that moment comes when it attains such complete consciousness that it can merge back into indistinguishable unity with the World Soul, the universal light.
因此，如何回答这个重大问题最终取决于答案是来自自我还是本我。尽管现在西方出现的主导意识似乎正在提供自己明确的回应，但正如我们从随后几个世纪中出现的两个最伟大的故事中看到的那样，从无意识中出现的答案并不总是那么明确。
How this great question was answered therefore lay ultimately in whether the answer was coming from the ego or the Self. And although the ruling consciousness now emerging in the West might have seemed to be offering its own unequivocal response, as we can see from two of the greatest stories arising from the centuries which followed the answer which emerged from the unconscious was not always so clear cut.
“感动太阳和其他星星的爱”
‘The love that moves the sun and the other stars’
到了十一世纪，我们可以开始谈论“基督教欧洲”，以及我们与“中世纪”联系在一起的文明的出现。在它的中心，现在被全欧洲公认为精神权威的最高来源，是教皇权，仍然以罗马为基础。至少在理论上，它的世俗对应物是“神圣罗马帝国”，以德国为中心，自 800 年查理曼加冕为第一位“皇帝”以来建立。对于欧洲人民来说，从国王、封建领主到最卑微的人对于农奴来说，基督教的象征和仪式为他们生活的各个方面提供了一个超越的框架，从出生、婚姻到死亡等等。
By the eleventh century, we can begin to speak of a ‘Christian Europe’, and the emergence of that civilisation we associate with the ‘Middle Ages’. At its centre, now acknowledged all over Europe as the supreme source of spiritual authority, stood the Papacy, still based on Rome. Its secular counterpart, at least in theory, was the ‘Holy Roman Empire’, centred on Germany and established since the crowning of Charlemagne as its first ‘emperor’ in 800. For the people of Europe, from kings and feudal lords to the humblest serf, the symbols and rituals of the Christian religion had come to provide a transcendent framework to every aspect of their lives, from birth and marriage to death and beyond. And in nothing was this more conspicuously made manifest than in those mighty buildings now beginning to soar hundreds of feet into the sky above the rooftops of Europe’s cities, the ‘Romanesque’, later ‘Gothic’ cathedrals, standing at the centre of their citizens’ consciousness as great symbolic embodiments of the inspiring totality of the Self.
在十二和十三世纪，我们看到了中世纪最伟大的故事讲述周期的鼎盛时期，它最初源自英国传说，以想象中的黑暗时代的英国为背景，但在法国和德国发展到了一些最高的文学表现形式：复杂的故事故事围绕神话般的亚瑟王和他的圆桌骑士的生活和统治展开。这些故事所描绘的骑士精神和浪漫的形象是如此丰富，以至于在未来的几个世纪里，它们将继续激励着诗人、作曲家、画家和电影制作人。尤其是一些从主要叙述中衍生出来的附属故事，比如寻找圣杯、特里斯坦和伊索尔德的悲剧、帕西法尔的重生和救赎故事。但亚瑟本人一生的中心故事分为三个主要阶段。第一个是典型的白手起家的故事，讲述了亚瑟最初从默默无闻中崛起，直到确立了理想化“好国王”的角色。第二部分包括以卡米洛特和自我的光辉形象——圆桌为中心的所有不同故事，他的传奇骑士们围绕着圆桌聚集在一起，然后他们可以从圆桌中出击，执行他们的骑士任务，例如营救“少女”。处于困境中或寻求圣杯。但故事的最后阶段表明亚瑟王的王国开始衰落并失去统一的力量。其中包括描述亚瑟如何与他最喜爱的骑士兰斯洛特爵士发生无可挽回的争吵的剧集，他与亚瑟王的吉尼维尔王后陷入了长期的恋情，最终两人都以悲惨的结局告终。然而在此之前，发生了一个奇怪的插曲，标志着亚瑟漫长而英雄的一生的结束。
In the twelfth and thirteenth centuries we see the heyday of that greatest cycle of mediaeval storytelling, originally derived from British legend and set in an imaginary Britain of the dark ages, but developed to some of its highest literary expressions in France and Germany: the complex of stories centred round the life and reign of the fabulous King Arthur and his knights of the Round Table. So rich was the imagery of chivalry and romance conjured up by these tales that they would continue to inspire poets, composers, painters and film-makers for centuries to come; not least through some of those subsidiary stories which grew out of the main narrative, such as the quest for the Holy Grail, the tragedy of Tristan and Isolde, the rebirth and redemption story of Parsifal. But the central story of the life of Arthur himself falls into three main stages. The first is the archetypal Rags to Riches story of Arthur’s initial emergence from obscurity, until he is established in his role as an idealised ‘Good King’. The second includes all the different stories centring on Camelot and that shining image of the Self, the Round Table, around which his legendary knights are drawn together, and from which they can then sally forth to perform their chivalric tasks, such as rescuing ‘damsels in distress’ or seeking the Grail. But the closing stage of the story shows Arthur’s kingdom beginning to decay and lose its unifying power. This includes the episodes describing how Arthur falls out irreparably with his most loved knight, Sir Lancelot, who has been locked in the long-standing love affair with Arthur’s Queen Guinivere which is eventually to end for both on a note of wistful tragedy. Before this, however, comes the strange episode which marks the end of Arthur’s own long, heroic life.
一个阴影侵入了年迈的国王，他的侄子莫德雷德，他的名字与死亡相呼应。在一阵预兆的恐惧中，亚瑟为了保护他的王国，下令将一群孩子流放到一艘船上，然后这艘船就失事了。亚瑟不知道这场沉船事故中唯一的幸存者是莫德雷德，他秘密长大，直到现在他成为一名男子，带着一支外国军队回来寻求复仇。莫德雷德如此成功地赢得了人民的支持，他被加冕为国王，迫使亚瑟撤退到他的岛屿王国的西部深处。在最后一场伟大的战斗中，有时被解释为凯尔特英国对抗不断推进的撒克逊入侵者的最后一战。亚瑟击败了篡位者。但是，正如贝奥武夫在与巨龙的胜利战斗中受了致命伤一样，亚瑟也受到了致命伤。正如贝奥武夫失去了他的巨剑一样，亚瑟现在命令忠实的贝德维尔爵士将他强大的剑 Excalibur 扔进西方的湖中，在那里它被一只穿着白色锦缎的手臂抓住并被拉入深处。然后，湖对岸的薄雾中出现了一艘披着深黑色的船，船员是三个哭泣的女性人物。亚瑟上了船，消失在浓雾和黑暗中。故事讲述者认为他从那里进入了神秘的阿瓦隆岛，那里是永恒的夏天。但民间传说也表明，当他的国家有一天再次需要最伟大的英雄时，他就会回来。它被一只穿着白色锦缎的手臂抓住并被拉入深处。然后，湖对岸的薄雾中出现了一艘披着深黑色的船，船员是三个哭泣的女性人物。亚瑟上了船，消失在浓雾和黑暗中。故事讲述者认为他从那里进入了神秘的阿瓦隆岛，那里是永恒的夏天。但民间传说也表明，当他的国家有一天再次需要最伟大的英雄时，他就会回来。它被一只穿着白色锦缎的手臂抓住并被拉入深处。然后，湖对岸的薄雾中出现了一艘披着深黑色的船，船员是三个哭泣的女性人物。亚瑟上了船，消失在浓雾和黑暗中。故事讲述者认为他从那里进入了神秘的阿瓦隆岛，那里是永恒的夏天。但民间传说也表明，当他的国家有一天再次需要最伟大的英雄时，他就会回来。
A shadow has intruded on the ageing king, that of his nephew Mordred, his name echoing that of death. In a premonitory fit of dread, Arthur had sought to preserve his kingdom by ordering that a group of children should be sent into exile on a ship, which is then wrecked. The only survivor of this wreck, unknown to Arthur, is Mordred, who grows up in secret until, now a man, he returns with a foreign army to seek vengeance. So successfully does Mordred win over the people that he is crowned king, forcing Arthur to retreat deep into the west of his island kingdom. In a final great battle, sometimes interpreted as the last stand of Celtic Britain against the advancing Saxon invaders. Arthur strikes down the usurper. But, just as Beowulf is mortally wounded in his victorious battle with the dragon, Arthur too is dealt a fatal wound. Just as Beowulf loses his great sword, so Arthur now orders the faithful Sir Bedevere to throw his mighty sword Excalibur into a western lake, where it is caught by an arm clothed in white samite and drawn down into the depths. Then in the mists across the lake comes a boat draped in deepest black, crewed by three weeping feminine figures. Arthur enters the boat and disappears from view into the mist and gathering darkness. The storytellers suppose that he passed from there into the mysterious Isle of Avalon, where it is eternal summer. But folklore also dictates that, when his nation again one day has need of its greatest hero, he will return.
这个结局的奇怪之处在于，尽管这个故事源于基督教中世纪的核心，并且充满了基督教意象，但亚瑟之死应该没有什么明显的基督教色彩。当然，从原型上看，他生命的最后几集与贝奥武甫之死相呼应。两人都是伟大的英雄，年老时却遭遇了代表死亡的奸诈敌人。每个人在最后一场伟大的战斗中都受了致命伤，但同时赢得了胜利，战胜了对手。至少在贝奥武夫的例子中，我们知道他已经死了，因为我们看到他的骨灰在火葬柴堆上被烧毁。但亚瑟只是从视线中消失，融入某种新的完整和光明的状态，伴随着“女性”的闪亮三重存在。无论他进入的这个幸福世界的本质是什么，它都不是正统基督教的天堂。没有上帝、天使或审判的迹象。从这个意义上说，他可能只是被认为与“一”神秘地融合在一起。然而，亚瑟的故事似乎还没有结束。他似乎以完整的个人身份幸存下来，以至于有一天他可能会“觉醒”，以国家的救世主的身份回归：尽管不是作为精神救世主，而是作为他一生中的好战英雄。作为自我和自我之间的妥协，这是一个巧妙捏造的公式。但它不是对这个长期谜题的基督教答案。然而，亚瑟的故事似乎还没有结束。他似乎以完整的个人身份幸存下来，以至于有一天他可能会“觉醒”，作为他的国家的救世主回来：尽管不是作为精神救世主，而是作为他一生中的好战英雄。作为自我和自我之间的妥协，这是一个巧妙捏造的公式。但它不是对这个长期谜题的基督教答案。然而，亚瑟的故事似乎还没有结束。他似乎以完整的个人身份幸存下来，以至于有一天他可能会“觉醒”，以国家的救世主的身份回归：尽管不是作为精神救世主，而是作为他一生中的好战英雄。作为自我和自我之间的妥协，这是一个巧妙捏造的公式。但它不是对这个长期谜题的基督教答案。21
The odd thing about this ending is that, although the story grows out of the heart of the Christian Middle Ages and is so full of Christian imagery, there should be so little that is overtly Christian about Arthur’s death. Certainly, archetypally, the closing episodes of his life provide echoes of the death of Beowulf. Both are great heroes who, when full of years, are confronted by a treacherous enemy representing death. Each in his last great battle is mortally wounded but at the same time wins the victory, overcoming his antagonist. At least in Beowulf’s case we know he is physically dead, as we see his ashes consumed on a funeral pyre. But Arthur simply passes from sight, merging into some new state of wholeness and light, accompanied by that shining threefold presence of the ‘feminine’. Whatever the nature of this blessed world he has passed into, it is not the orthodox Christian heaven. There is no sign of God, or angels, or judgement. And in this sense he might simply be taken to have merged mystically with the One. Yet it then appears this is not the end of Arthur’s story. He has seemingly survived in his full individual identity, to such effect that he may one day ‘awaken’, to return as redeemer of his nation: although not as a spiritual saviour but as the warlike hero he had been in life. As a compromise between ego and Self, it was a brilliantly fudged formula. The one thing it was not was a Christian answer to that perennial riddle.21
这个故事确实提供了基督教的答案，比任何其他故事都更深刻，是佛罗伦萨学者、士兵、外交官、政治家和哲学家但丁·阿利吉耶里在十四世纪初写的一首长诗。《神曲》是当代最伟大的想象力成就之一中世纪。在三本书中，描述但丁穿过地狱，穿过炼狱到达天堂的旅程，它与世界上任何故事一样完全围绕三法则构建。每卷分为三十三章，再加一章作为全诗的序言，共一百章。他的叙述以这样一句话开始：“在这一生的旅程中，我发现自己在一片黑暗的树林里，迷失了方向”。从表面上看，这指的是他自己的生活，当时他三十多岁，作为城邦的公民领袖之一，他卷入了一场暴力的政治冲突，导致他被驱逐出这座城市。他身无分文，流亡海外，他的世界似乎一片废墟。但但丁内心描述的是“中心危机”，
The story which did provide a Christian answer, more profoundly than any other, was the long poem written in the early years of the fourteenth century by a Florentine scholar, soldier, diplomat, politician and philosopher, Dante Alighieri. The Divine Comedy was one of the towering imaginative achievements of the Middle Ages. In three books, describing Dante’s journey down through Hell and up through Purgatory to Paradise, it is constructed as completely around the Rule of Three as any story in the world. Each book is divided into thirty-three cantos, plus one more as a prologue to the whole poem, making a hundred in all. His narrative famously begins with those words ‘Midway through the journey of this life I found myself in a dark wood where the way was lost’. Outwardly this referred back to the time in his own life when, in his mid-thirties, as one of the civic leaders of his city-state, he had become caught up in a violent political conflict which resulted in his expulsion from the city. Cast penniless into exile, his world seemed in ruins. But inwardly Dante was describing that ‘central crisis’, where a hero suddenly finds himself forced to set out from the ‘City of Destruction’ on a Quest for the innermost meaning of human existence.
在第一本书《地狱篇》的开头，但丁看到他面前有一座大山，从黑暗中升起，进入远方的阳光下。他出发去爬山，却发现三只凶猛的动物依次挡住了他的去路：豹子、狮子和狼。当他逃跑时，在绝望中绊倒，他遇到了一个令人印象深刻的人物，原来是维吉尔，在中世纪比所有其他前基督教作家都受人尊敬。这位“聪明的老人”将成为但丁旅程第一段的向导，他告诉他，如果他想逃离这个野蛮的地方，他将不得不走另一条路：
At the start of the first book, the Inferno, Dante sees before him a great mountain, rising out of darkness into sunlight far above. He sets off to climb it, but finds his way barred in turn by three fierce animals, a leopard, a lion and a wolf. As he runs away, stumbling in his desperation to escape, he is confronted by an imposing figure who turns out to be Virgil, revered in the Middle Ages above all other pre-Christian writers. This ‘wise old man’, who is to be Dante’s guide through the first part of his journey, tells him that, if he wishes to escape from this savage place, he will have to take another road:
‘这头让你哭泣的野兽[自我]不允许任何人从她身边经过，但却如此纠缠他们，以至于她杀死了他们；她性情乖戾恶毒，贪吃的胃口永远无法满足，以致吃完饭后，她比以前更饿了。
‘This beast [the ego] which makes you weep does not allow anyone to pass by her, but so entangles them that she kills them; and she has a nature so perverse and vicious that her craving appetite can never be satisfied, so that after feeding she is hungrier than before.’
但丁如果不先穿过地狱的九个圈，就不可能指望爬上这座山，其中包含着那些因其在地球上的罪孽而受到永恒惩罚的阴影。维吉尔带领他来到了一个严峻的大门，上面写着“所有进入这里的人都放弃希望”的传说。当他们经过时，他的向导告诉他：
Dante cannot hope to climb the mountain without first going down through all the nine circles of Hell which contain those shades condemned to eternal punishment for their sins on earth. Virgil leads him to a grim gateway, bearing the legend ‘Abandon hope all ye who enter here’. As they go through, his guide tells him:
“正如我所说，我们来到了一个地方，在那里你会看到那些失去了理智的可怜人”……在这里，叹息、哭泣和深沉的哀号在无星的空气中回响，起初让人们流泪。我的眼睛。奇怪的舌头，可怕的叫喊，痛苦的话语，愤怒的语气，低沉而沙哑的声音……制造出一种骚动，在被污染的空气中永远回响，就像沙漠中的旋风漩涡一样。
‘“We are come to the place where, as I said, you would see the wretched people who have lost the good of their understanding” ... here sighs, cries and deep wailings resounded through the starless air, at first bringing tears to my eyes. Strange tongues, horrible outcries, words of pain, tones of anger, voices deep and hoarse ... made a tumult which echoes forever through that tainted air, like the whirlwind eddies of desert sand.’
他们看到新来的灵魂排着长队，痛苦地等待着渡过一条黑色的河流进入地狱，维吉尔安排他们过去。在到达地狱深渊之前，他们首先穿过地狱边境，在那里，在一座七墙七门的城堡周围的草地上，他们遇到了“善良的异教徒”，他们是来自前基督教甚至后基督教时代的高贵人物，例如例如埃涅阿斯、俄耳甫斯、苏格拉底、柏拉图、欧几里得、赫拉克利特、萨拉丁和阿威罗伊，22他们无法希望进入天堂，因为他们没有得到基督教救恩的好处。但从在这里，当他们进入真正的地狱，“一个没有任何光芒的地方”时，维吉尔开始通过对人类自我中心所有层次的精心结构的描绘，逐级引导但丁。
They see queues of newly-arrived souls miserably waiting to be ferried across a black river into the underworld, and Virgil arranges for them to cross over. Before reaching the pit of Hell proper, they first pass through Limbo where, in meadows around a seven-walled, seven-gated castle, they meet ‘the virtuous pagans’, noble figures from pre-Christian and even post-Christian times, such as Aeneas, Orpheus, Socrates, Plato, Euclid, Heraclitus, Saladin and Averroes,22 who could not hope to enter heaven because they had not had the benefit of Christian salvation. But from here, as they enter the true Inferno, ‘a place where nothing shines’, Virgil begins to lead Dante down, level by level, through a carefully structured portrayal of all the gradations of human egotism.
当他们向下穿过一片更加黑暗、更加噩梦般的景观时，那里有雾、沼泽、甲虫悬崖和臭水池，每一个新的圆圈都代表着与“整体”分离的状态，比之前的那些状态更加极端。但丁遇到的三只动物表征了这些罪恶的一般性质。最上面的三个圆圈以桀骜不驯的豹子为象征，包含那些犯下与“失禁”、缺乏自制力相关的罪行的人。第一个是献给那些沉迷于欲望的人的，里面有一对不正当的恋人，比如里米尼的保罗和弗朗西斯卡。她被困在与怪物的婚姻中，并在与姐夫的恋情中寻求庇护，直到她的丈夫谋杀了他们两人。但至少这些夫妇的罪孽是基于共同的爱。第二个圈子是那些因贪婪或暴饮暴食而放纵自己的肉体欲望的人。但这至少可以暗示一定程度的社交能力。第三个圈子包括那些曾经受物质财富奴役的人，如囤积者或挥霍者，在他们之下，第四个过渡圈子是那些生活被愤怒吞噬的人。在这里，以自我为中心的状态变得更加明显和激进地转向他人。但丁和维吉尔随后来到了地狱之城“下地狱”的大门，那里还有三个以愤怒的狮子为象征的圆圈，里面关着那些犯有暴力罪行的人：首先是那些对他人施以暴力的谋杀者和酷刑者。其他的; 然后是那些对自己实施暴力的自杀者；最后那些违背自然的人，
As they travel downwards through an ever darker and more nightmarish landscape, with its fogs, marshes, beetling cliffs and stinking pools, each new circle represents states of separation from ‘wholeness’ more extreme than those which came before. The three animals Dante had encountered characterised the general nature of these sins. The topmost three circles, symbolised by the untamable leopard, contain those who have committed sins associated with ‘incontinence’, lack of self-control. The first, dedicated to those who have given way to lust, contains pairs of illicit lovers, such as Paolo and Francesca of Rimini. Trapped in marriage to a monster, she had sought refuge in a love affair with her brother-in-law until her husband murdered them both. But at least the sin of these couples had been based on a shared love. The second circle contains those who allowed their physical appetites to run to excess in greed or gluttony. But again this can at least imply a measure of sociability. The third contains those who had lived enslaved to material wealth, as hoarders or spendthrifts, and below them, in a fourth, transitional circle, are those whose lives had become consumed by anger. Here the states of egocentricity are becoming more obviously and aggressively turned against other people. Dante and Virgil then come to the gates of the infernal city, ‘lower Hell’, where three more circles, symbolised by the raging lion, contain those who had been guilty of crimes of violence: first those murderers and torturers who had been violent against others; then the suicides who had committed violence against themselves; finally those who had violated nature, as ‘sodomites’ or by living parasitically on the efforts of others through usury.
最后两个圆圈，以贪婪的狼为象征，包含那些靠欺骗他人为生的人。其中包括各种各样令人眼花缭乱的罪人，从那些以诱惑或奉承为欺骗行为的人，到那些以虚伪或欺诈为罪过的人。最底层的人包括那些背叛了基本忠诚或信任的人：背叛了自己的亲人或国家的人；那些因背叛客人而违背待客之道的人；最后是那些背叛了他们的主人的人。在地狱的最深处，但丁和维吉尔终于遇到了魔鬼本人的可怕身影，这是一个拥有三张面孔的巨大怪物，每一张都咀嚼着一个特别臭名昭著的叛徒布鲁图斯和卡西乌斯的影子，他们是凯撒的奸诈刺客，犹大，基督的背叛者。而此时，当他们开始爬下魔鬼巨大的身体时，令人眼花缭乱的打击随之而来，随着他们继续下降得越来越深，他们突然感觉到自己不再向下移动。到达地球的最中心后，他们现在正在向上攀登：直到在书的最后几行中，他们瞥见了远在他们上方闪耀的星星之光。他们在自我的幽闭恐怖地下世界中的地狱般的艰苦跋涉已经结束了。他们正处于下一阶段旅程的开始，在炼狱高耸的山脚下。星星的光芒在他们上方高处闪耀。他们在自我的幽闭恐怖地下世界中的地狱般的艰苦跋涉已经结束了。他们正处于下一阶段旅程的开始，在炼狱高耸的山脚下。星星的光芒在他们上方高处闪耀。他们在自我的幽闭恐怖地下世界中的地狱般的艰苦跋涉已经结束了。他们正处于下一阶段旅程的开始，在炼狱高耸的山脚下。
The last two circles, symbolised by the ravening wolf, contain those who lived by deceiving others. One includes a bewildering variety of sinners, from those whose deceit had lain in seduction or flattery to those whose offence had been hypocrisy or fraud. The lowest circle includes those guilty of betraying a fundamental loyalty or trust: those who had betrayed their kin or their country; those who had violated the trust of hospitality by betraying their guests; lastly those who had betrayed their lord. At this deepest part of Hell, Dante and Virgil are finally confronted by the terrifying figure of the Devil himself, a huge monster with three faces, each munching the shade of a particularly notorious traitor, Brutus and Cassius, the treacherous assassins of Caesar, and Judas, the betrayer of Christ. And at this point, when they begin to clamber down the Devil’s immense body, comes that dazzling stroke whereby, as they continue to descend ever deeper, they suddenly sense they are no longer moving downwards. Having reached the very centre of the earth, they are now climbing upwards: until, in the book’s closing lines, they glimpse, shining far above them, the light of the stars. Their hellish slog through the claustrophobic underworld of the ego is over. They are at the start of the next stage of their journey, at the foot of the towering mountain of Purgatory.
下一本书《炼狱》是献给那些虽然在地球上自私地生活，但仍然有足够的善良或悔恨感以希望最终获得救赎的人。陡峭山脉的前两个“梯田”包含那些被教会逐出教会的人，或者由于某种原因，例如突然死亡，在死前没有悔改自己的罪过的人。然后，穿过彼得之门，但丁和维吉尔来到了七个飞檐，那里居住着那些正在痛苦地沉溺于七种致命罪中的人：骄傲、嫉妒、愤怒、懒惰、贪婪、暴食、色欲。每一个都由一位天使主持，代表着与其特定形式的自我主义相反的“光”：谦卑、慷慨的精神、和平、热心、接受、节制、贞洁。但丁爬得越来越高，直到他发现自己身处一个鲜花、树木和流水的地方，人类堕落前的纯真花园，人间天堂。一场令人惊叹的盛会在他面前展开，当他目瞪口呆地凝视着它时，他意识到他的向导维吉尔已经悄然离去。阿尼玛，他灵魂的载体。正是她，在他不知情的情况下，从高处安排了他能够踏上这次旅程，并且在第一部分中，他应该由代表地球上精神智慧的维吉尔陪伴。但现在但丁已经准备好进入下一个阶段，这个阶段开始于他所看到的一切的启发，他最终被自己的无价值感所压倒。他因过去的盲目和无能而感到恐惧而晕倒，但恢复意识后发现自己正被拖过遗忘之河忘川，这条河抹去了他所有不愉快的记忆。比阿特丽斯带领他经过知识树，知识树绽放出花朵，他喝了美好回忆的水，现在，他被净化并充满了天堂般的平静感，他感到重生，“纯洁并准备好跳跃到星星” 。因此，第二本书以与第一本书相同的星空图像结束。他已经准备好迎接他的阿尼玛带领他进入最后阶段。
The next book, Purgatorio, is devoted to those who, although they had lived selfishly on earth, still had enough good in them or sense of remorse to hope for eventual salvation. The first two ‘terraces’ of the precipitous mountain contain the shades of those excommunicated by the Church, or who for some reason, such as sudden death, had not repented of their sins before dying. Then, through Peter’s Gate, Dante and Virgil come to the seven cornices inhabited by those who are painfully working off their indulgence in each of the seven deadly sins: pride, envy, anger, sloth, covetousness, gluttony, lust. Each is presided over by an angel representing the ‘light’ opposite to its particular form of egotism: humility, generosity of spirit, peace, zeal, acceptance, temperance, chastity. Higher and higher Dante mounts until he finds himself in a place of flowers, trees and running water, the garden of mankind’s innocence before the Fall, the earthly Paradise. Here an amazing pageant unfolds before him, and while he is gazing at it, transfixed, he realises his guide Virgil has silently departed. As he weeps at his loss, he realises he is now looking instead at the visionary beauty of Beatrice, the woman who has been the central inspiration of his life ever since their first childhood meeting in Florence, personifying his anima, the carrier of his soul. It is she who, unknown to him, has arranged from on high that he can make this journey, and that for the first part he should be accompanied by Virgil, representing spiritual wisdom on earth. But now Dante is ready for the next stage, which begins when, enlightened by all he has seen, he is finally overwhelmed by a sense of his own unworthiness. He faints at the horror of his past blindness and inadequacy, but regains consciousness to find he is being dragged across Lethe, the river of Forgetfulness, which blots out all his unhappy recollections. Beatrice leads him past the Tree of Knowledge, which bursts into blossom, he drinks of the waters of Good Remembrance and now, purged and filled with a sense of heavenly peace, he feels reborn, ‘pure and prepared to leap up to the stars’. The second book thus ends on the same starry image as the first. He is ready for his anima to lead him on to the final stage.
第三本书《天堂》，以神秘的景象开始，但丁看到贝阿特丽斯凝视着太阳的光芒，听到天体的音乐，发现自己被一片闪闪发光的光和火焰的海洋包围，并意识到它们已经失重地漂浮在地球之上。他们升入九个天堂的第一层，每个天堂都由九个天使天使中的一个主持。第一层天堂，也就是月亮的天堂，由最低阶的天使守护，他们一生守护着每个人。第二个是水星，由大天使守护，他们保护整个国家，给人类带来重要的消息，就像加百列给玛丽带来她将生下耶稣的消息一样。但丁在这里与查士丁尼皇帝交谈，他是一位理想的基督教统治者和立法者。这将他们带到第三层天，即金星，由被称为“公国”的生物守护，他们主持公正且秩序井然的尘世政府。第四层天，即太阳，由“力量”守护，这是对抗黑暗力量的神圣力量的形象。在这里，但丁看到了从托马斯·阿奎那到所罗门，一系列令人眼花缭乱的哲学家、道德导师、智者和圣人。第五层天堂，火星，由“美德”（力量和坚韧的天使形象）守护，居住着从约书亚到查理曼的正义战士领袖。第六层天，木星，由代表正义和上帝对世界的最终统治的“统治”守护，其中包括大卫王和第一任天王。对抗黑暗力量的神圣力量的图像。在这里，但丁看到了从托马斯·阿奎那到所罗门，一系列令人眼花缭乱的哲学家、道德导师、智者和圣人。第五层天堂，火星，由“美德”（力量和坚韧的天使形象）守护，居住着从约书亚到查理曼的正义战士领袖。第六层天，木星，由代表正义和上帝对世界的最终统治的“统治”守护，其中包括大卫王和第一任天王。对抗黑暗力量的神圣力量的图像。在这里，但丁看到了从托马斯·阿奎那到所罗门，一系列令人眼花缭乱的哲学家、道德导师、智者和圣人。第五层天堂，火星，由“美德”（力量和坚韧的天使形象）守护，居住着从约书亚到查理曼的正义战士领袖。第六层天，木星，由代表正义和上帝对世界的最终统治的“统治”守护，其中包括大卫王和第一任天王。基督教皇帝康斯坦丁。第七颗是土星，由“王座”守护，代表神圣的坚定和自律，体现在基督教修道院创始人本尼迪克特等圣人的沉思者身上。
The third book, the Paradiso, begins with a mystical vision as Dante sees Beatrice gazing into the light of the sun, hears the music of the heavenly spheres, finds himself surrounded by a shimmering sea of light and flame and realises that they have floated weightless above the earth. They rise into the first of nine heavens, each presided over by one of the nine orders of angelic beings. The first heaven, that of the Moon, is guarded by the lowest order of angels, those who watch over each individual through life. The second, that of Mercury, is guarded by the archangels who protect whole nations and bring tidings of great import to mankind, as Gabriel brought news to Mary that she was to give birth to Jesus. Here Dante talks to the Emperor Justinian, as an ideal Christian ruler and lawgiver. This takes them on to the third heaven, that of Venus, guarded by the beings known as ‘Principalities’, who preside over just and well-ordered earthly government. The fourth heaven, that of the Sun, is guarded by the ‘Powers’, images of divine power in combating the powers of darkness. Here Dante sees a dazzling array of philosophers, moral teachers, wise men and saints, from Thomas Aquinas to Solomon. The fifth heaven, Mars, guarded by the ‘Virtues’, the angelic images of strength and fortitude, is peopled by righteous warrior-leaders, from Joshua to Charlemagne. The sixth heaven, Jupiter, guarded by ‘Dominions’ representing justice and the ultimate dominion of God over the world, includes King David and the first Christian Emperor Constantine. The seventh, Saturn, guarded by ‘Thrones’, represents divine steadfastness and self-discipline, personified in saintly contemplatives such as Benedict, founder of Christian monasticism.
在这里，土星恰如其分地标志着一个序列的结束和另一个序列的开始，因为但丁和比阿特丽斯登上天梯到达最后的两个天堂。前五位代表了权力、正义和自律以及男性美德的不同方面。现在我们终于来到了女性的价值观，从第八层天开始，由基路伯守护的恒星代表着神圣的智慧。在这里，但丁被圣彼得、圣詹姆斯和约翰询问基督教三大美德：信、望、爱的含义。当他们在代表神圣之爱的最高天使秩序六翼天使的守护下升入第九重天时，这就是他们上升到另一个层次的前奏，与之前的所有层次都截然不同。首先他们看到一个强光点，被九个同心环包围，比阿特丽斯解释说这是上帝的异象，被九个天使团包围。但丁现在看到她的美丽变得如此美丽，以至于超出了他的描述能力，沐浴在如此光芒中，他暂时失明了。她告诉他，他们已经进入了九重天，当他恢复视力时，他看到在他们上方升起一朵巨大的闪亮的神秘玫瑰。在这里，在这个神圣整体的强大象征的雪白花瓣中，有一层又一层的受祝福者的灵魂，沐浴在和平与爱中。但丁转向比阿特丽斯寻求解释，却发现她已经走了，取而代之的是一个以极大仁慈看着他的人物。圣伯纳德是他的第三位也是最后一位向导，他向他展示了贝阿特丽斯现在坐在玫瑰花上，戴着荣耀的王冠，而更高处则坐着天国女王本人，
Here, appropriately, Saturn marks the end of one sequence and the beginning of another, as Dante and Beatrice ascend a Celestial Ladder to the final two heavens. The previous five have represented different aspects of power, justice and self-discipline, the masculine virtues. Now at last we come to the feminine values, beginning in the eighth heaven, that of the fixed stars guarded by Cherubim, representing Divine Wisdom. Here Dante is quizzed by St Peter, St James and John on the meaning of the three supreme Christian virtues, Faith, Hope and Love. When they ascend to the ninth heaven, guarded by Seraphim, the highest angelic order, representing Divine Love, this turns out to be the prelude to their ascent onto yet another level, incomparably different from all those which have preceded it. First they see a point of intense light, surrounded by nine concentric rings, which Beatrice explains is a vision of God, surrounded by the nine orders of angels. Dante sees her beauty now so transfigured that it is beyond his powers to describe, and bathed in such light that he is temporarily blinded. She tells him they have come into the Empyrean and, as he recovers his sight, he sees rising above them a great shining mystical rose. Here, in the snow-white petals of this mighty symbol of heavenly totality are tier upon tier of the souls of the blessed, bathed in peace and love. Dante turns to Beatrice for an explanation, to find she has gone and been replaced by a figure who looks on him with immense benevolence. It is St Bernard, his third and final guide, who shows him Beatrice now enthroned in the rose, crowned in glory, while higher up sits the Queen of Heaven herself, the Virgin Mary, attended by countless angels.
然后，但丁面临着最后一个令人惊讶的景象：三个辐射光的球体，各不相同，但都占据相同的空间：三位一体的象征，也是成长和转变原型的数字的象征。当他凝视着它，试图用自己的智力弄清楚这三个球体如何能够分开又合一时，他突然觉得自己能够放手了。他不再有任何独立的意志、思想或存在。但丁感到他的整个人都被一种完全无法理解的爱的力量所占据。
Dante is then confronted with a final astonishing vision: three spheres of radiant light, all distinct, but all occupying the same space: an emblem of the Trinity and of that number which is the archetype of growth and transformation. While he is gazing at it, trying to puzzle out with his intellect how the three spheres can be separate yet one, he suddenly feels he is able to let go. He no longer has any separate will or mind or existence. Dante feels his entire being taken over, by the power of a love so total that it is beyond all comprehension.
“当轮子平稳地移动时，没有罐子，
‘As a wheel moves smoothly, free from jars,
我的意志和愿望被爱所改变。
My will and my desire were turned by love.
感动太阳和其他星星的爱。”
The love that moves the sun and the other stars.’
故事就这样结束了，在这个令人惊叹的画面中，但丁将爱视为一种力量，最终为宇宙中的一切赋予了目的、意义和联系。这个愿景特别引人注目的是，“推动太阳和其他星星的爱”不仅被视为一种可以将有生命的生物结合在一起的力量，而且被视为塑造和推动所有无生命物质成为一体的力量。出色地。对于但丁来说，在他强大的内心旅程结束时，想象他自己独立的存在最终溶解在那个最初创造一切的单一心灵的光芒中。他将整个宇宙描绘成一个基于难以想象的爱的伟大思想。在所有的故事讲述中，这是英雄最终融入一体的最高典范。
So the story ends, on this breathtaking image in which Dante sees love as the power which ultimately gives purpose, meaning and connection to everything in the universe. What is particularly striking about this vision is that the ‘love that moves the sun and the other stars’ is seen not just as a force which can bind animate creatures together, but as the all-uniting power which shapes and impels all inanimate matter as well. For Dante, at the end of his mighty inner journey, imagines his own separate existence finally dissolving into the light of that single mind which called everything into being in the first place. He is portraying the entire universe as a just a single great thought, based on unimaginable love. In all storytelling it is the supreme example of a hero finally merging into the One.
“人是万物的尺度”
‘Man is the measure of all things’
尽管现在看来，中世纪基督教世界所描绘的世界图景在我们看来遥不可及，但它却是人类想象力最非凡的成就之一。对于基督教欧洲的人民来说，它提供了一个心理框架，可以解释他们看待自己存在的整个方式并赋予其意义。它所呈现的世界图景由两个独立但又相互交织的维度组成，一个是物质的，另一个是精神的。在外在的世俗层面上，地球是宇宙的中心。欧洲位于其中心。它的世俗社会及其封建制度是围绕等级制度建立的，等级制度赋予每个人一个分配的位置，因为他们忠于他们的领主和国王（甚至在欧洲的部分地区，也归功于早已消失的政治统一的幽灵般的回响， “神圣罗马帝国皇帝”）。但这个外在世界服从于看不见的永恒维度，而这个维度被视为真实的现实。虽然这明显地以教会为代表，其牧师、僧侣和主教的等级一直上升到教皇，但这些只是圣徒和天使天上等级制度的尘世中介，以创造宇宙和宇宙的力量为中心。它统治着地球上的一切存在。这种力量本身就显得巨大得难以想象。然而，通过基督本人形象中上帝的人性化，代表了人性最完美状态的投射，人们已经可以在内心与它产生联系。祈祷和基督教仪式的目的是消除自我和自我之间的障碍，
Immeasurably remote though it now seems to us, the world-picture developed by mediaeval Christendom was one of the most remarkable achievements of the human imagination. For the peoples of Christian Europe it provided a psychological framework which could explain and give meaning to the entire way in which they viewed their existence. The picture of the world it presented was made up of two separate but interfused dimensions, one material, the other spiritual. On the outward, worldly plane, the earth was the centre of the universe. Europe stood at its centre. Its secular society, with its feudal system, was built around a hierarchy which gave each person an allotted place, owing loyalty to their lord and their king (even, in parts of Europe, to that ghostly echo of a long-vanished political unity, the ‘Holy Roman Emperor’). But this outward world was subordinate to the unseen eternal dimension which was viewed as the true reality. Although this was visibly represented by the Church, with its ranks of priests, monks and bishops rising to the Pope at its head, these were mere earthly intermediaries for the heavenly hierarchy of saints and angels, centred on the power which had created the universe and which ruled over all earthly existence. In itself such a power might have seemed so immense as to be unimaginable. Yet it had become possible for people to relate to it inwardly through the humanising of God in the figure of Christ himself, representing a projection of human nature in its most perfect state. The purpose of prayer and Christian ritual was to dissolve the barrier between ego and Self, to bring people into contact with that level of their psyche which transcended the imperfect ego, thus linking them back to the unseen totality.
这个“基督教神话”包罗万象，它可以赋予个人和集体生活的各个方面以意义。几百年来，欧洲文明的主要视觉自我表达方式，连同其教堂和大教堂，都集中在一组特定的图像上，这些图像被无休止地用彩色颜料绘制、雕刻和描绘，这丝毫不亚于其力量的体现。 -玻璃，其目的是不断地将人们的注意力集中在生活的另一个维度上。这些被钉在十字架上的基督、母亲和孩子的风格化图标并没有试图与不完美的、日常的物质世界联系起来。它们是通向被视为唯一真实现实的永恒完美平面的窗口。
So all-embracing was this ‘Christian myth’ that it could give a sense of significance to every aspect of individual and collective life. And not the least reflection of its power was the way, for hundreds of years, the chief visual self-expression of European civilisation, alongside its churches and cathedrals, was centred on a particular set of images, endlessly painted, sculpted and depicted in stained-glass, the purpose of which was constantly to focus people’s minds on this other dimension to their lives. These stylised icons of the crucified Christ and the Mother and Child made no attempt to relate to the imperfect, everyday, material world. They were windows onto that eternal plane of perfection which was regarded as the only true reality.
当但丁写《神曲》时，最早的迹象之一就开始出现，表明这一切将如何改变。。在一位几乎与他同时代的佛罗伦萨人的画作中，我们看到西方艺术终于冲破了二维图像框架，这个框架长期以来一直限制着它，乔托凭借想象力的巨大飞跃，将中心思想带入了现实世界。将基督教故事中的事件带入可见的物质世界：一个由天空、山丘、树木和建筑组成的世界，其中居住着真实的三维人类，表现出真实的人类情感。就在但丁的视野中，统一世界图景的力量达到顶峰时，我们看到意识中另一次伟大转变的开始，最终比以往任何事情都更根本地重塑人类世界。
One of the earliest signs of how all this was to change began to appear at the very time Dante was writing his Divine Comedy. In the paintings of a fellow Florentine who was his almost exact contemporary, we see Western art at last bursting out of that two-dimensional iconographic frame which had constrained it for so long as, with a mighty leap of the imagination, Giotto brought the central events of the Christian story out into the visible, material world: a world of sky and hills, trees and buildings, peopled by real three-dimensional human beings showing real human emotions. Just when the power of that all-unifying world-picture was reaching its zenith in Dante’s vision, we see the beginnings of another great shift in consciousness which was eventually to reshape the human world more fundamentally than anything which had come before.
中世纪世界形象的瓦解将是一个长达几个世纪的过程。但它的早期反映是，在乔托之后的两个世纪里，艺术家们将他们的绘画主题进一步延伸到尘世世界。他们的照片仍然以基督教意象为中心。但随着马萨乔和皮耶罗·德拉·弗朗西斯卡、乌切洛和扬·凡·艾克等艺术家在描绘物质世界的方式上发展出越来越大的“现实主义”，人们对“现实”的看法正在发生深刻的转变。他们的艺术仍然服从于天堂完美的愿景。通过基督在十字架上受难的形象，代表了人类为摆脱自我的不完美而进行的斗争，它仍然充满了自我的超越价值。但精神层面现在开始通过对物质外观世界的更加逼真的再现来表达。而且，随着他们稳步扩大绘画风景、世俗肖像甚至古典神话场景的题材范围，他们的灵感来源不再需要明确是基督教的。
The disintegration of the mediaeval world-image was to be a centuries-long process. But an early reflection of it was the way in which, in the two centuries following Giotto, artists took the subject matter of their paintings ever further out into the earthly world. Their pictures remained centred on Christian imagery. But as artists such as Masaccio and Piero della Francesca, Ucello and Jan van Eyck developed an ever greater ‘realism’ in the way they portrayed the physical world, a profound shift was taking place in where that ‘reality’ was perceived to lie. Their art was still subordinated to a vision of heavenly perfection. Through images of Christ’s suffering on the cross which represented humanity’s struggle to escape the imperfections of the ego, it was still imbued with the transcendent values of the Self. But the spiritual dimension was now coming to be expressed through an ever more life-like recreation of the world of physical appearances. And, as they steadily widened the range of their subject matter in painting landscapes, secular portraits and even scenes from classical mythology, it was no longer necessary that their sources of inspiration should be explicitly Christian at all.
同样重要的是这种意识转变在建筑中的体现。没有什么比它伟大的大教堂更雄伟地表达基督教中世纪的超凡世界观了，它们黑暗而神秘的内部通向高祭坛的中心焦点，它们发光的彩色玻璃窗，它们的尖塔和塔楼高耸入云。他们的目的是通过音乐、香火和大量的圣像来强化，引导信徒进入超凡脱俗的精神奥秘。但突然之间，大约在十五世纪末，表达这一点的哥特式风格几乎从视野中消失了。新时代的主导建筑，如罗马圣彼得大教堂，有意识地从希腊和罗马的前基督教文明中汲取灵感，寻求
Equally significant was the way this shift in consciousness was reflected in architecture. Nothing had more majestically expressed the transcendent world-view of the Christian Middle Ages than its great cathedrals, with their dark, mysterious interiors leading up towards the central focus of the high altar, their luminous stained-glass windows, their spires and towers soaring heavenwards. Their purpose, reinforced by music, incense and the profusion of holy images, was to lead worshippers into the presence of an unearthly spiritual mystery. But quite suddenly, around the end of the fifteenth century, the Gothic style which had expressed this all but vanished from view. Taking conscious inspiration from the pre-Christian civilisation of Greece and Rome, the dominant buildings of the new age, like St Peter’s, Rome, sought, like the temples of the ancient world, to express perfection in more earthly form, as ideal images based on the language of symmetry, harmony and intellectual order.
皮耶罗·德拉·弗朗西斯卡 (Piero della Francesca) 在 15 世纪中叶为乌尔比诺公爵的宫殿设计的大楼梯是了解文艺复兴时期新精神的最佳线索。台阶的排列方式使得除非以最庄严、最庄严的方式走下去是不可能的。光是走下一段楼梯就给人一种高贵和高贵的感觉。如果不“昂首阔步”，就无法做到这一点。因此，文艺复兴的灵感来自于这样一种愿景：人被充分发挥，实现其所能发挥的最高潜力：正如我们在皮耶罗自己的画作中那些严肃而明亮的人物所传达的崇高的人性观点中所看到的那样。正是在这个意义上，肯尼思·克拉克（Kenneth Clark）用柏拉图的普罗泰戈拉的话来识别文艺复兴的本质。：“人是万物的尺度”。正是这种对人性最理想、所有黑暗和畸形都被清除的愿景，启发了后来文艺复兴时期的艺术家，如达·芬奇和米开朗基罗。这是自我完善的新愿景。但它与仅200年前但丁时代的中世纪世界观相去甚远，其形象是堕落的人类，只能希望在永恒的层面上变得完美。
There is no better clue to the new spirit underlying the Renaissance than the great staircase designed by Piero della Francesca for the palace of the Duke of Urbino in the mid-fifteenth century. The steps are so arranged that it is impossible to descend them except in the most stately and dignified fashion. Merely to walk down a set of stairs gives a sense of elevation and nobility. One cannot do so without having to ‘walk tall’. The Renaissance was thus inspired by a vision of man being drawn up to his fullest stature, realising the highest potential of which he was capable: as we see in the lofty view of humanity conveyed by those grave and luminous figures in Piero’s own paintings. It was in this sense that Kenneth Clark identified the essence of the Renaissance in the words of Plato’s Protagoras: ‘man is the measure of all things’. It was this vision of human nature at its most ideal, with all darkness and deformity purged away, which inspired the artists of the later Renaissance, such as Leonardo and Michelangelo. It was a new vision of the perfection of the Self. But it was far removed from that world-view of the Middle Ages in the time of Dante only 200 years before, with its image of a fallen humanity which could only hope to be made perfect on the plane of eternity.
十五世纪末的伟大航海探险在中世纪的世界图景中又打出了一个大洞，人们认识到整个“新世界”超出了基督教欧洲的范围。大西洋彼岸那些广阔的未知大陆。但与这些发现本身同样重要的是，为了实现这些发现，人们逐渐依赖于对“现实”的新认识，即存在于外在物理世界中的东西。在这样做的过程中，他们学会了拒绝中世纪世界图景的中心假设，即地球是平的，转而支持一种新的、经验性的认识，即地球是圆的。
A further great hole was punched in the frame of that mediaeval world-picture by the great voyages of exploration at the end of the fifteenth century, which opened up the realisation that whole ‘new worlds’ lay beyond the confines of Christian Europe, above all those vast unknown continents across the Atlantic. But just as important as these discoveries themselves was that, in order to make them, men were coming to rely on a new perception of what constituted ‘reality’, as something which lay in the outward, physical world. In doing so, they were learning to reject that central assumption of the mediaeval world-picture that the earth was flat in favour of a new, empirical realisation that it was round.
当十六世纪上半叶整个北欧的人们挑战教皇统治西方基督教世界的权威时，统一世界图景的另一个重要部分就消失了。他们不再准备盲目地接受一个已经变得过于世俗和腐败的体系的统治。就像路德宣称“我站在这里，我不能说别的”一样，当他们重新审视基督教所依据的《圣经》中所呈现的耶稣形象时，他们在自己的判断中找到了新的权威来源。 。被这种新的自我愿景所吸引，他们开始摧毁所有那些旨在将宗教传达为通往超凡脱俗的精神维度的门户的外在装饰。在他们新发现的热情中，他们撕毁了圣徒雕像和圣母像，蔑视炼狱信仰，并对困惑的崇拜者说教，除非他们是被上帝选中的“选民”，否则他们将面临永恒的诅咒。但当他们这样做时，他们就很容易因将自我与自我混淆而产生的自以为是而膨胀，这可能是最致命的自我主义形式。
Another significant chunk of the unified world-picture slipped away when, all over northern Europe in the first half of the sixteenth century, men challenged the authority of the Papacy to rule over Western Christendom. No longer were they prepared just blindly to accept the rule of a system which had become only too obviously worldly and corrupt. Like Luther when he declared ‘here I stand, I can say no other’, they had found a new source of authority in their own judgement, as they looked anew at the image of Jesus presented in the Bible, the book on which Christianity rested. Possessed by this new vision of the Self, they set about destroying all those outward trappings which had been designed to convey religion as the gateway to an other-worldly spiritual dimension. In their newfound zeal, they tore down statutes of the saints and images of the Virgin, poured contempt on the belief in Purgatory, and lectured bemused worshippers that unless they were among the ‘elect’, chosen by God, they faced eternal damnation. But as they did so they became all too easily inflated by that self-righteousness which arises from confusing ego with Self, potentially the most deadly form of egotism of all.
另一个震惊来自十六世纪后期，借助望远镜等新科学发明的发现，地球并不是宇宙的中心。同样，这源于人们日益增长的认识，即真正的“现实”只能通过理解外在的物理世界的结构来建立。但十七世纪初最聪明的思想家之一约翰·多恩（John Donne）捕捉到了这种动摇西方人身份认同基础的方式：
Yet another shock came from the discovery of the later sixteenth century, with the aid of new scientific inventions such as the telescope, that the earth did not stand at the centre of the universe. Again, this derived from the growing perception that true ‘reality’ could only be established through understanding the structures of the outward, physical world. But the way this shook the foundations of Western man’s sense of identity was caught by one of the most intelligent thinkers of the early seventeenth century, John Donne:
“新哲学让一切都充满疑问，
‘And new philosophy calls all in doubt,
火元素已完全熄灭；
The element of fire is quite put out;
太阳消失了；和地球；没有人的智慧
The sun is lost; and th’earth; and no man’s wit
可以很好地指导他去哪里寻找它。
Can well direct him where to look for it.
人们自由地承认这个世界已经耗尽，
And freely men confess that this world’s spent,
当在行星和苍穹中时，
When in the planets and the firmament,
他们寻求许多新的东西；他们看到这
They seek so many new; they see that this
再次被粉碎成他的原子。
Is crumbled out again to his atomies.
“一切都支离破碎，所有连贯性都消失了。” 23
‘Tis all in pieces, all coherence gone.’23
当多恩谈到“所有连贯性”如何消失时，他真正谈论的是中世纪世界图景的瓦解，而中世纪世界图景似乎完美地解释了一切如何与其他一切结合在一起，在那个统一和普遍的形象中，它无意识地是自我整体的投射。但正当多恩感叹如何，多亏了“新哲学”。一切似乎都在分崩离析，最近，一位与多恩同时代的同胞和同胞的想象力中出现了一种关于整体的全新愿景。最初，视觉艺术首先表达了中世纪世界观的瓦解，同时唤起了一种新的、更世俗的自我愿景。现在，实现新综合的火炬传递到了一种不同的艺术形式，即文学：最引人注目的是通过莎士比亚一位作家的作品。
When Donne spoke of how ‘all coherence’ had been lost, what he was really talking about was the disintegration of that mediaeval world-picture which had seemed to explain so perfectly how everything fitted together with everything else, in that unified and universal image which was unconsciously a projection of the totality of the Self. But just when Donne was lamenting how, thanks to the ‘new philosophy’. everything seemed to be falling apart, a wholly new vision of that totality had lately been emerging through the imagination of one of Donne’s contemporaries and fellow-countrymen. Originally it had been the visual arts which first expressed the disintegration of that mediaeval world-view, while at the same time conjuring up a new, more earthly vision of the Self. Now the torch of achieving a new synthesis passed to a different art-form, literature: most notably through the works of just one writer, Shakespeare.
最重要的是，莎士比亚的悲剧和喜剧的独特之处在于它们是如何产生于如此完全统一的世界观的。从他对人类行为基本模式的感知，到对个人形象的准确无误的观察，他的伟大本质在于他能够描绘世界本来的样子，不受任何主观观念的影响。正如作家克里斯托弗·霍利斯（Christopher Hollis）所说，“与莎士比亚一起生活”“不是原则上的辩论”。原则已经确定了。生活是人们实现或未能实现这些目标的盛会。对于莎士比亚来说，这些原则是一个活生生的秩序框架的外在表达，它同样包含个人道德、社会秩序和宇宙的自然秩序，所有这些构成了一个和谐的整体，如果藐视这个整体，就会面临最终致命的风险。他之所以能够如此清晰地看到世界，是因为他比任何其他作家都更本能地与自我的价值观融为一体。
What above all made Shakespeare’s tragedies and comedies unique was how they sprung from a vision of the world which was so completely unified. From his sense of the fundamental patterns governing human behaviour down to the unerringly exact observation of his individual images, the essence of his greatness lay in his ability to portray the world as it is, unclouded by any subjective notion of how it might be. ‘Life with Shakespeare’ as the writer Christopher Hollis put it, ‘is not a debate on principles. The principles are settled. Life is the pageant of men living up to them or failing to live up to them.’ To Shakespeare those principles were the outward expression of a living framework of order which equally encompassed personal morality, the social order and the natural order of the universe, all making up a harmonious whole which can only be flouted at ultimately fatal risk. And the reason he was able to see the world so clearly was because, more than any other author, he was so instinctively at one with the values of the Self.
在《特洛伊罗斯与克瑞西达》中尤利西斯的著名演讲中，莎士比亚表明，他对普遍秩序的理解与中世纪的任何事物一样全面。
In that famous speech of Ulysses in Troilus and Cressida, Shakespeare showed that he had just as comprehensive a sense of a universal order as anything conceived in the Middle Ages.
“天空本身、行星和这个中心，
‘The heavens themselves, the planets and this centre,
观察程度、优先级和位置，
Observe degree, priority and place,
坚持、路线、比例、季节、形式、
Insisture, course, proportion, season, form,
办公室和海关的所有订单......'
Office and custom in all line of order ...’
同样的秩序统治着人类的事务。然而，当它的平衡被扰乱时，“当邪恶的行星在混乱中混合时”，那么：
The same kind of order governed the affairs of mankind. Yet when its balance becomes disturbed, ‘when the planets in evil mixture to disorder wander’, then:
“什么瘟疫、什么预兆、什么叛变，
‘What plagues and what portents, what mutiny,
大海的汹涌，大地的震动，
What raging of the sea, shaking of earth,
风中的骚动、恐惧、变化、恐怖，
Commotion in the winds, frights, changes, horrors,
转移和破裂、撕裂和消灭
Divert and crack, rend and deracinate
各州的团结和平静。
The unity and married calm of states.’
当人类事务因此而瓦解时，没有什么比每个组成部分反抗整体的方式更清楚地反映这一点：莎士比亚在他的每一部悲剧中都如此生动地描绘了个人和集体利己主义力量的释放：
When human affairs thus become disintegrated, nothing reflects this more clearly than the way in which each component part rebels against the whole: that unleashing of the power of individual and collective egotism which Shakespeare so vividly portrays in each of his tragedies:
“去掉一点，调松那根弦，
‘Take but degree away, untune that string,
听听随之而来的不和谐！每件事都会遇到
And hark what discord follows! Each thing meets
仅仅出于反对……”
In mere oppugnancy ...’
“万事万物都包含着自身的力量，
‘Every thing includes itself in power,
力量变成意志，意志变成欲望，
Power into will, will into appetite,
还有食欲，一只普遍的狼......
And appetite, an universal wolf ...
必须使之成为普遍的猎物，
Must make perforce an universal prey,
最后把自己吃掉了。
And last eat up himself.’
莎士比亚在他的戏剧中没有其他地方如此明确地总结了所有戏剧背后的基本世界观。尤利西斯的演讲阐述了自我与自我之间的宇宙极性，这种极性几乎贯穿了莎士比亚所写的每一行，而且没有其他作家曾对这一极性进行过如此深入的探索。他之所以这样做，并不是借助某种外部的、投射的模型（这种模型为中世纪提供了灵感），而是因为，比任何其他讲故事的人都多，他的有意识思维如此本能地与内心的客观无意识融为一体。他：那个“坐在中间并且知道”的“秘密”。24
Nowhere else in his plays does Shakespeare so explicitly summarise the fundamental world-view which underlies them all. Ulysses’s speech sets out that cosmic polarity between the Self and the ego which informs almost every line Shakespeare wrote, and which no other writer has ever explored with such penetrating depth. And he did so, not with the aid of some external, projected model of the kind which had provided the inspiration of the Middle Ages, but because, more than any other storyteller, his conscious mind was so instinctively at one with the objective unconscious within him: that ‘Secret’ which ‘sits in the middle and knows’.24
在这方面，莎士比亚的戏剧表明，当西方人的意识摆脱了中世纪世界图景的限制时，就有可能达到迄今为止不可能实现的心理理解深度。在莎士比亚对人性的理解中，整体性、力量、思想、心灵和灵魂这四重组成部分仍然可以保持完美的平衡。但法国哲学家笛卡尔在去世后不到 20 年，就宣称“我思故我在”，从而早期表明了西方人的意识现在的运动方式。他并没有像中世纪那样说“神思故我在”。对于笛卡尔来说，人性中最大的谜团就是解开身体和心灵之间的区别。对他来说，心和灵魂已经开始从画面中消失了。随着西方文明距离中世纪越来越远，以自我为中心的意识现在开始以一种全新的方式与无意识分离。
In this respect Shakespeare’s plays demonstrate how, as it emerged from the constraints of the mediaeval world-picture, it was possible for the consciousness of Western man to reach a depth of psychological understanding which hitherto would have been impossible. In Shakespeare’s perception of human nature, the fourfold components of totality, strength, mind, heart and soul, could still be held in perfect balance. But within 20 years of his death the French philosopher Descartes gave an early indication of the way the consciousness of Western man was now moving when he proclaimed ‘I think, therefore I am’. He did not say, as the Middle Ages might have had it, ‘God thinks, therefore I am’. For Descartes, the greatest riddle in human nature was to unravel the distinction between body and mind. For him the heart and the soul had begun to drop out of the picture. As Western civilisation moved still further from the Middle Ages, consciousness centred on the ego was now beginning to split off from the unconscious in a way which was wholly new.
十七世纪后期，牛顿发现了万有引力定律，为宇宙的新心理形象铺平了道路，它本质上可以被视为一个巨大的物理机制，可以被人类思维所理解，因为它的工作原理是由完全一致的物理定律。牛顿本人笃信宗教，对他来说，完美有序的宇宙的愿景只是证实它一定是超自然心灵的创造。他自己的智慧越了解物理创造如何组合在一起，他就越对它的统一感到敬畏（“自然”，正如他所说，“与自身非常一致和一致”）。然而，同样地，他发现得越多，他就越感觉到人类的思维所能理解的物质宇宙的运作方式是多么的少。
In the later seventeenth century Newton’s discovery of the law of gravitation paved the way for a new mental image of the universe, whereby it could be seen as essentially an immense physical mechanism which was open to understanding by the human mind because its workings were governed by wholly consistent physical laws. Newton himself was deeply religious and for him this vision of a perfectly-ordered universe was merely confirmation that it must be the creation of a supernatural mind. The more his own intelligence came to understand how physical creation fitted together, the more he was awed by its unity (‘nature’, as he put it ‘is very consonant and conformable with itself’). Yet, equally, the more he discovered, the more he sensed just how little of the workings of the physical universe the human mind could ever hope to understand. As he also put it in a famous passage:
“我似乎只是像一个在海边玩耍的男孩，时不时地寻找比平常更光滑的卵石或更漂亮的贝壳，而真理的海洋却在我面前尚未被发现。”
‘I seem to have been only like a boy playing on the sea-shore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, while the great ocean of truth lay all undiscovered before me.’
然而，到了十八世纪中叶，我们看到的世界甚至连这种对巨大谜团的敬畏感也开始消失。“在线之上”，我们看到一种文明沐浴在一种意识的自信之光中，这种意识首先基于人类心灵的秩序功能。它的建筑和谐有序，绘画文学亦如此。当它观察自然时，它是通过分类和分类来实现的。它的思想家认为，人类面临的任何问题，从制定政治宪法到提高农业生产力，都不能通过利用人类的智力来理解其背后的法律和原则来解决。现在，“理性之光”如此明亮，以至于古老的中世纪超验意识的残余，人类存在的超自然维度开始逐渐消失，只剩下高尚的感伤。统治这个世界的精神已被视为只不过是“仁慈的神灵”。然而，当我们从讲故事的角度审视这个“启蒙时代”时，我们发现构成心理整体性的东西现在已经消失在我们的视野中了。
By the mid-eighteenth century, however, we see a world in which even this sense of awe before an immense mystery has begun to vanish. ‘Above the line’ we see a civilisation bathed in the confident light of a consciousness which is based above all on the ordering function of the human mind. Its architecture is harmonious and orderly, its painting and literature likewise. When it observes nature it does so by means of classification and taxonomy. Its thinkers imagine there is no problem confronting mankind, from the making of political constitutions to increasing the productivity of agriculture, which cannot be resolved by use of the human intellect to perceive the laws and principles which lie behind it. So bright now is the ‘light of reason’ that the remnants of that old mediaeval sense of a transcendent, supernatural dimension to human existence are beginning to fade away into little more than high-minded sentimentality. The spirit ruling this world has come to be seen as no more than a ‘benevolent Deity’. Yet when we look at this ‘age of enlightenment’ in terms of its storytelling, we see how much of what constitutes psychic totality had now dropped out of view.
十八世纪故事的典型情节是“远航与归来”，描述了格列佛、鲁滨逊漂流记、老实人、拉塞拉斯和古代水手等旅行者进入未知领域的冒险经历。这不仅仅是因为十八世纪进入了未知的南半球，是欧洲探索外在物质世界的伟大时代之一。这类故事的本质在于，它展示了一个生活在意识有限状态中的人突然从地板上掉进某个隐藏的领域，其中包含了他们以前不知道的整个存在维度。这个情节的出现（如卡夫卡、伊芙琳·沃或JD的小说）塞林格）始终是意识已经变得危险的片面并与无意识分离的标志。十八世纪的故事讲述方式最引人注目的莫过于它成功地淡化或排除人性阴暗面的程度。克服怪物的情节在其更加怪诞的表达中实际上已经从西方故事讲述中消失了（除了偶尔以模仿形式出现，例如莫扎特歌剧中出现的海怪）伊多梅尼奥）。十八世纪更自然地适应舒适、乐观的喜剧世界。人们对悲剧的黑暗精神如此不安，以至于有人甚至试图重写莎士比亚的悲剧，以给它们带来幸福的结局，例如内厄姆·泰特（Nahum Tate）著名的《李尔王》改写，约翰逊博士对此进行了辩护，该剧展示了李尔和科迪莉亚幸存下来，完成了最后的落幕。
It was revealing that such a characteristic plot of stories in the eighteenth century was the ‘Voyage and Return’, describing the adventures of travellers such as Gulliver, Robinson Crusoe, Candide, Rasselas and the Ancient Mariner venturing into unknown realms. This was not just because the eighteenth century, with its voyages into the uncharted southern hemisphere, was one of the great ages of European exploration in the outward, physical world. The essence of this type of story is that it shows someone living in a state of limited consciousness suddenly falling through the floor into some hidden realm which contains a whole dimension of existence of which they were previously unaware. The appearance of this plot (as in the novels of Kafka, Evelyn Waugh or J. D. Salinger) is always a sign that consciousness has become dangerously one-sided and split off from the unconscious. And nothing is more striking about eighteenth-century storytelling than the extent to which it manages to diminish or shut out the dark side of human nature. The Overcoming the Monster plot in its more grotesque expressions virtually drops out of western storytelling (except occasionally in pastiche form, as in the sea-monster which appears in Mozart’s opera Idomeneo). The eighteenth century was much more naturally at home with the cosy, optimistic world of comedy. So ill at ease was it with the darker spirit of Tragedy that attempts were even made to rewrite the tragedies of Shakespeare to give them happy endings, such as the famous reworking of King Lear by Nahum Tate, defended by Dr Johnson, which showed Lear and Cordelia surviving to take a final curtain.
然而，在这个文明和谐有序的表面之下，在巴斯优雅的新月形、法国百科全书的冷静理性的散文、在维也纳舞厅吊灯下旋转庄严小步舞的舞者背后，是英国贵族们有教养的快乐。在意大利经典景点的“大旅行”中，地下能量这场激动人心的事件即将在西方世界的集体心灵中引发一场迄今为止从未见过的更大的地震。
Beneath the harmoniously ordered surface of this civilisation, however, behind the elegant crescents of Bath, the calmly rational prose of the French Encyclopaedists, the dancers circling to a stately minuet beneath the chandeliers of a Viennese ballroom, the well-bred pleasure those English aristocrats took in going on their ‘Grand Tours’ of the classical sites of Italy, subterranean energies were stirring which were about to unleash an even greater earthquake in the collective psyche of the western world than anything seen so far.
革命与浪漫主义：自我的释放
Revolution and Romanticism: The unleashing of the ego
本章的主题是自史前时代以来，人类试图调和从自然状态开始出现的那一刻起出现的心灵分裂的最明显的方式。它对人类文明的核心重要性可以从它的象征结构如何主导世界上几乎所有文化的定居点中看出，从欧洲的大教堂到中东的金字形神塔和尖塔，从亚洲的宝塔到古代雕刻的图腾。北美。
The theme of this chapter has been the most obvious of the ways in which, since far back into prehistory, human beings have tried to reconcile the psychic split which arose from the moment they began emerging from a state of nature. Its central importance to human civilisation could be seen in how its symbolic structures dominated the settlements of almost every culture in the world, from the cathedrals of Europe to the ziggurats and minarets of the Middle East, from the pagodas of Asia to the carved totems of North America.
然而，正如这些结构所表明的那样，与宗教密切相关的是人类利用想象力将他们的意识生活与超越自我的无意识领域联系起来的其他主要手段：通过艺术的力量。
Closely allied to religion, however, as these structures showed, was that other chief means whereby human beings had used imagination to connect their conscious lives with the ego-transcending realm of the unconscious: through the power of art.
在中世纪，最戏剧性地表达这种与自我重新联系的愿望的艺术形式是那些哥特式大教堂中的建筑。但在接下来的几个世纪里，这种富有想象力的努力的中心焦点在不同时期从一种艺术形式转移到另一种艺术形式。当欧洲的想象力摆脱了中世纪的框架后，它最初在新的绘画风格中找到了最完整的心理表达，这种绘画风格创造了十五世纪和十六世纪初文艺复兴的辉煌。到了十七世纪初，焦点已经转移到舞台上表演的文学上。现在，莎士比亚的戏剧显示出了洞察人类心灵客观层面的最大能力（尽管后来伦勃朗的孤立天才也与他的洞察力深度相匹配）。到了十八世纪，文学和绘画已不再能够达到这样的心理和精神深度。现在最深刻地传达西方想象力来表达心灵整体的力量的形式是音乐。首先是巴赫和亨德尔的时代，然后是海顿和莫扎特的时代，最后是贝多芬和舒伯特的时代，音乐是所有艺术中最内在、最抽象的，它最完整地表达了伟大艺术将意识与自我协调起来的力量。 。没有哪个作曲家比那个站在这个时期末期的伟人更清楚地意识到这一点的重要性，从心理上来说，音乐在艺术中是无与伦比的。用贝多芬自己的话说：现在最深刻地传达西方想象力来表达心灵整体的力量的形式是音乐。首先是巴赫和亨德尔的时代，然后是海顿和莫扎特的时代，最后是贝多芬和舒伯特的时代，音乐是所有艺术中最内在、最抽象的，它最完整地表达了伟大艺术将意识与自我协调起来的力量。 。没有哪个作曲家比那个站在这个时期末期的伟人更清楚地意识到这一点的重要性，从心理上来说，音乐在艺术中是无与伦比的。用贝多芬自己的话说：现在最深刻地传达西方想象力来表达心灵整体的力量的形式是音乐。首先是巴赫和亨德尔的时代，然后是海顿和莫扎特的时代，最后是贝多芬和舒伯特的时代，音乐是所有艺术中最内在、最抽象的，它最完整地表达了伟大艺术将意识与自我协调起来的力量。 。没有哪个作曲家比那个站在这个时期末期的伟人更清楚地意识到这一点的重要性，从心理上来说，音乐在艺术中是无与伦比的。用贝多芬自己的话说：它最完整地表达了伟大艺术将意识与自我协调起来的力量。没有哪个作曲家比那个站在这个时期末期的伟人更清楚地意识到这一点的重要性，从心理上来说，音乐在艺术中是无与伦比的。用贝多芬自己的话说：它最完整地表达了伟大艺术将意识与自我协调起来的力量。没有哪个作曲家比那个站在这个时期末期的伟人更清楚地意识到这一点的重要性，从心理上来说，音乐在艺术中是无与伦比的。用贝多芬自己的话说：
During the Middle Ages the art form which most dramatically expressed this desire for re-connection to the Self was architecture, in those Gothic cathedrals. But over the centuries which followed the central focus of that imaginative effort had moved at different times from one art form to another. As the European imagination broke out from its mediaeval frame, it initially found its most complete psychological expression in the new styles of painting which produced the glories of the fifteenth and early sixteenth-century Renaissance. By the early seventeenth century, the focus had moved to literature acted out on a stage. It was the plays of Shakespeare which now showed the greatest ability to penetrate to the objective level of the human psyche (although the isolated genius of Rembrandt, a little later, matched his depth of insight). By the eighteenth century, literature and painting were no longer capable of reaching such psychological and spiritual depths. The form which now most profoundly conveyed the power of the Western imagination to express psychic totality was music. In the age first of Bach and Handel, then of Haydn and Mozart, finally of Beethoven and Schubert, it was music, the most inward and abstract of all the arts, which most completely expressed that power by which great art harmonises consciousness with the Self. And no composer was more consciously aware of the significance of this than the towering figure who stood at the end of this period when, psychologically, music stood unrivalled among the arts. In Beethoven’s own words:
“就像所有的艺术一样，音乐是建立在道德感的崇高象征之上的；所有真正的发明都是道德进步。服从其高深莫测的规律，并通过这些规律来驯服和引导自己的心灵，从而使艺术的表现得以倾泻而出：这就是艺术的孤立原理……所以艺术总是代表着神性，而人与艺术的关系就是宗教：我们通过艺术获得的东西来自上帝……因此，每一件真正的艺术作品都是独立的，比艺术家本人更强大……只有在它见证了艺术的神圣性时才与人联系在一起。它们是一种媒介。音乐将精神与和谐联系起来。25
‘like all the arts music is founded on the exalted symbols of the moral sense; all true invention is a moral progress. To submit to its inscrutable laws, and by means of these laws to tame and guide one’s own mind, so that the manifestations of art may pour out: this is the isolating principle of art ... so art always represents the divine, and the relationship of men towards art is religion: what we obtain through art comes from God ... thus every genuine product of art is independent, more powerful than the artist himself ... connected with men only inasmuch as it bears witness to the divine of which they are a medium. Music relates the spirit to harmony.’25
事实上，在不那么罕见的层面上，同样的原则也支配着那些更流行的艺术形式，这些艺术形式几千年来一直娱乐和提升了广大普通民众的精神，这些艺术形式来自与世界上所有丰富的民间音乐传统相关的歌曲和舞蹈。流行故事讲述者的技巧。26本书的大部分内容都在讨论源自民间故事的故事，这并非偶然，这些故事是人类集体想象的匿名产物，其起源是如此神秘，以至于我们通常只能追踪到它们的形式。它们首先被收集。十七世纪末，当法国人查尔斯·佩罗首次出版《睡美人》等民间故事的版本时，《小红帽》、《蓝胡子》和《灰姑娘》，27或者当格林兄弟在 19 世纪早期创作他们的德国民间故事集时，自从这些故事中的大多数开始演变并通过口头复述而流传以来，可能已经过去了许多个世纪。经过许多代人。
In fact, at a less rarified level, the same principle governed those more popular forms of art which had entertained and uplifted the great mass of ordinary people for thousands of years, from the songs and dances associated with all the world’s rich traditions of folk music to the skills of the popular storytellers.26 It is no accident that so much of this book has been taken up with discussing stories derived from folk tales, those anonymous products of the collective imagination of mankind whose origins are so mysterious that we can usually only track them down to the forms in which they were first collected. By the time at the end of the seventeenth century when the Frenchman Charles Perrault first came to publish versions of such folk tales as Sleeping Beauty, Red Riding Hood, Bluebeard and Cinderella,27 or when the Grimm brothers produced their collection of German folk tales in the early nineteenth century, many centuries had probably elapsed since most of these stories had first begun to evolve, to be passed on by oral retelling through many generations.
从心理学的角度来看，这些故事完美地反映了讲故事的基本原型，就像我们在更自觉的复杂文学形式中发现的任何东西一样，这就是为什么在本书中我们又回到了《灰姑娘》或《杰克与魔豆》这样的例子。一次又一次。这些故事没有任何明显的宗教或“基督教”色彩（事实上，在世界各地的文化中都发现了它们的变体）。但它们可以被视为反映了与基督教或其他宗教相同的人性基本图景，因为它们直接源于相同的原型根源。正如我们通过人类的宗教冲动所表达的那样，它们反映了人类可以超越自我的限制与自我接触的模式。在这方面，民间故事对于中世纪和后中世纪欧洲的“线下”文化非常重要，它们与宗教本身一样，是帮助人们与自我价值观联系起来的心理框架的一部分。
In psychological terms these tales provide as perfect a reflection of the underlying archetypes of storytelling as anything we find in more self-consciously sophisticated forms of literature, which is why in this book we have returned to such examples as Cinderella or Jack and the Beanstalk again and again. There is nothing overtly religious or ‘Christian’ about these stories (indeed variations of them are found in cultures all over the world). But they can be seen to reflect the same fundamental picture of human nature as that which underlies Christianity or other religions, because they spring so directly from the same archetypal roots. Just as surely as we see expressed through the religious impulse in mankind, they reflect the patterns whereby humanity can transcend the limitations of the ego to make contact with the Self. In that respect the folk tales which were so important to the ‘below the line’ culture of mediaeval and post-mediaeval Europe were as much part of the psychological framework which helped connect people to the values of the Self as religion itself.
在中世纪之后的几个世纪里，随着欧洲文明开始发现一种截然不同的看待世界的基础，为在人们的生活中提供这种统一感而创建的想象力和文化框架已经开始微妙地瓦解。在很长一段时间里，这种现象的外在迹象可能看起来不太明显。但到了十八世纪末，三个发展同时发生，标志着人类精神发展进入了一个全新阶段。
In the centuries following the Middle Ages, as European civilisation began to discover a quite different basis on which to look at the world, the imaginative and cultural framework created to provide this sense of unity in people’s lives had begun subtly to disintegrate. For a long time the outward signs of this might not have seemed too obvious. But towards the end of the eighteenth century three developments coincided which were to mark the onset of a wholly new phase in the psychic development of mankind.
第一个源于带来工业革命的科学知识和技术技能的进步。很难夸大这种变化给西方文明带来的心理影响，因为它开始变得越来越依赖机器。新机器将前所未有的动力与严格的重复模式相结合机械秩序有助于强化集体心理中的男性元素，这在人类经验中是前所未有的。它们提供了文明积累前所未闻的新财富的手段，通过伟大的新城市重塑世界，并与铁路、蒸汽火车、轮船、伟大的金属桥梁等十九世纪工程的胜利结合在一起。所有这一切的影响是巨大的，尤其是因为它给人一种感觉，即人类现在前所未有地摆脱了对自然的旧有依赖，成为周围世界的主人，并根据自己的目的控制它。伊拉斯谟·达尔文和其他人在十八世纪末首次提出的激进的新思维图景强化了这一点，它展示了地球上的生命如何在数百万年的时间里从低等生命形式进化到高等生命形式，智人。所有这些都有助于在接下来的100年里建立“超越界限”，被视为新的“进步宗教”，将整个世界的历史描绘成从黑暗到光明的漫长而痛苦的向上攀登，其中，十九世纪的人类凭借其新发现的力量和聪明才智，取得了最高的成就。
The first stemmed from all those advances in scientific knowledge and technological skill which were bringing about the industrial revolution. It is hard to exaggerate the psychological impact of the change this was to bring about in Western civilisation, as it began to become ever more dependent on the machine. The new machines, combining unprecedented power with the rigid repetitive patterns of mechanical order, helped to reinforce the masculine element in the collective psyche like nothing in human experience. They provided the means whereby civilisation could amass unheard of new wealth, reshaping the world with great new cities, joined together by such triumphs of nineteenth-century engineering as the railways, steam trains, steamships, great metal bridges. The effect of all this was immense, not least because it created the sense that men were now as never before emerging from their old dependence on nature to become masters of the world around them, controlling it to their own purposes. This was reinforced by that radical new mind-picture, first put forward by Erasmus Darwin and others before the end of the eighteenth century, which showed how life on earth had evolved over millions of years, from lower forms of life to higher, until it culminated in Homo sapiens. All this helped build up what over the next 100 years was, ‘above the line’, to be seen as the new ‘religion of progress’, portraying the entire history of the world as a long and painful upward climb from darkness into light, of which nineteenth-century man, with all his newfound power and mental ingenuity, was the crowning achievement.
但“线下”人类意识的胜利前进却投下了长长的阴影。随着数百万人离开土地涌入城市和工厂，许多人被迫在比人类以前经历过的任何环境都更加压抑和非人化的环境中生活。他们以一种全新的方式与自然的生命节奏隔绝。创造新机器和新财富的独创性也创造了新的大规模杀伤性武器，最终将付出可怕的代价。
But ‘below the line’ this triumphant onward march of human consciousness cast a long shadow. As people were drawn off the land in their millions to crowd into the cities and factories, many were forced to live out their lives in surroundings more oppressive and dehumanised than anything experienced by human beings before. They were becoming cut off from the living rhythms of nature in a way that was entirely new. And that ingenuity which was creating the new machines and new wealth was also creating new weapons of mass-destruction which would eventually exact a terrible price.
十八世纪末第二次更具体的与过去的决裂在法国大革命的动荡事件中得到了体现。法国革命者比他们之前的任何一代人都更加自觉地认为自己在人类生活中开启了一个全新的时代，将过去的所有黑暗和迷信抛在了身后。他们决心不仅要推翻自中世纪以来统治法国的君主制和社会等级制度，还要推翻基督教的全部遗产。他们的革命被视为标志着十八世纪启蒙运动中体现的理性主义精神的最终胜利。超越的上帝的观念将被新的“至高无上的存在”——“理性女神”所取代：人类意识力量的光荣投射。没有什么比新革命统治者渴望迫使法国人民生活在一个新的精神世界中更能象征人类大脑秩序功能的胜利了。他们将采用新的历法，以 1792 年为革命“元年”的新制度取代从基督诞生起的年份。他们的月份必须有新的名字；新的十进制周，用 10 天之一取代巴比伦的 7 天 24 小时天，每天分为 10 小时；一种新的十进制货币。最重要的是，他们将拥有一套新的度量衡体系。旧的传统度量的混乱将被一个完全理性的体系所取代，在这个体系中，所有的重量和度量都将根据新的“米”来定义，地球周长的四分之一，1799年，两位法国顶尖学者花了七年时间仔细测量敦刻尔克和巴塞罗那之间的每一寸距离，确定了这一新标准的准确长度，一大群人聚集在巴黎，看看铂金条的揭幕，它永远定义了米的长度。它是革命最神圣的目标：世界如何焕然一新的核心象征。
A second, more specific break with the past at the end of the eighteenth century was exemplified in the tumultuous events of the French Revolution. More self-consciously than any generation before them, the French revolutionaries saw themselves as launching a wholly new era in the life of mankind, putting behind them all the darkness and superstition of the past. They were determined to tear down not just the monarchy and the social hierarchy which had ruled France since far back into the Middle Ages, but also the entire legacy of the Christian religion. Their revolution was seen as marking a final victory for that spirit of rationalism which had found expression in the eighteenth-century Enlightenment. The idea of a transcendent God was to be replaced by a new ‘Supreme Being’, the ‘Goddess of Reason’: a glorified projection of the power of human consciousness. And nothing better symbolised this triumph for the ordering function of the human brain than the desire of the new revolutionary rulers to force the people of France to live in a new mental universe. They were to have a new calendar, replacing the dating of years from the birth of Christ with a new system which began with 1792 as ‘Year One’ of the Revolution. There were to be new names for their months; a new decimal week, replacing the Babylonian week of seven 24-hour days with one of 10 days, each divided into 10 hours; a new decimal currency. Above all they were to have a new system of weights and measures. The confusion of old traditional measures was to be replaced by a perfectly rational system in which all weights and measures would be defined in terms of the new ‘metre’, precisely equivalent to one ten-millionth of a quarter of the circumference of the earth, In 1799, after two leading French savants had spent seven years meticulously measuring every inch of the distance between Dunkirk and Barcelona, to establish the exact length of this new standard, a huge crowd assembled in Paris to see the unveiling of the platinum bar which was to define the length of the metre for all time. It was the most holy object of the Revolution: the central symbol of how the world had been made new.
但再一次，人类意识的所有这些胜利庆祝背后都有黑暗的一面。为了生活在这个自由平等的新时代的特权，法国人民付出了血海的代价，从成千上万贵族被送上断头台的令人陶醉的场面开始，到数百万人死在战场上结束。革命战争和拿破仑战争。当法国的教堂被重新命名为“理性神殿”时，“女神”的角色不止一次由当地妓女扮演，她在街道上凯旋，然后登上大教堂的高坛。新的革命日历是如此疯狂，以至于仅仅一两年之内就被羞愧地抛弃了。至于激发革命者美丽新世界神圣象征的狂妄自大，受雇确保它与地球周长的那一部分精确对应的学者们却秘密地发现他的数字加起来不正确，导致他精神崩溃。他没有承认事实，而是伪造了自己的数据：结果是，至今仍定义全世界一米长度的金属条，比应有的长度短了零点几毫米。整个公制系统是人类理性重塑世界的力量的象征，它是建立在一个微小但具有象征意义的谎言之上的。28
But again, to all this triumphant celebration of human consciousness there was a dark underside. For the privilege of living in this new era of liberty and equality, the people of France paid in a sea of blood, starting with the heady spectacle of thousands of aristocrats being sent to the guillotine, ending in the deaths of millions on the battlefields of the revolutionary and Napoleonic wars. When the churches of France were rededicated as ‘Temples of Reason’, the role of the ‘Goddess’ was more than once acted out by a local prostitute, paraded in triumph through the streets before being enthroned on the high altar of the cathedral. So mad was the new revolutionary calendar that within only a year or two it had been shame-facedly abandoned. As for the hubris which inspired that sacred symbol of the revolutionaries’ brave new world, the platinum metre, it was somehow appropriate that one of the two savants employed to ensure that it precisely corresponded to that fraction of the earth’s circumference had secretly discovered that his sums did not add up, provoking him to a nervous breakdown. Rather than admit the truth, he falsified his figures: with the result that the strip of metal defining what is still to this day the metre’s length all over the world, is a fraction of a millimetre short of what it should be. The entire metric system, symbol of the power of human reason to make the world anew, is based on a tiny but symbolic lie.28
第三次与过去的根本决裂发生在十八世纪末，在重要方面与其他两次决裂有关。法国大革命的非凡戏剧性给整个欧洲带来了精神冲击波，其影响不仅限于政治世界，而且更加广泛和深刻。正如威廉·华兹华斯（William Wordsworth）在他的名言中所写的那样，回忆了那个革命时代的欣快情绪：
The third fundamental break with the past taking place towards the end of the eighteenth century was in important respects related to the other two. The extraordinary drama of the French Revolution had sent a psychic shock wave through Europe, the repercussions of which ran much wider and deeper than just the world of politics. As William Wordsworth wrote in his famous lines remembering the euphoric mood of that revolutionary time:
“在那个黎明，活着就是幸福，
‘Bliss was it in that dawn to be alive,
但年轻真是天堂！
But to be young was very heaven!’
一代人之后，威廉·哈兹利特在《论活着的诗人》（On the Living Poets，1818）中演讲时回忆道：
A generation later, lecturing in On the Living Poets (1818), William Hazlitt recalled how:
“政治家、诗人、国王和人民的头脑中发生了巨大的骚动。按照流行的观念，一切都应该是自然的、新鲜的。任何既定的事情都是不能容忍的……权威……优雅或安排都被从脸上消失了……每个人都做自己眼中的善事……放荡变得极端……这是一个时代的承诺，世界的复兴。
‘There was a mighty ferment in the heads of statesmen and poets, kings and people. According to the prevailing notions, all was to be natural and new. Nothing that was established was to be tolerated ... authority ... elegance or arrangement were hooted out of countenance ... everyone did that which was good in his own eyes ... the licentiousness grew extreme ... it was a time of promise, a renewal of the world.’
黑兹利特所写的诗人之一，即华兹华斯本人，在法国大革命刚刚结束后写道：
One of the poets about whom Hazlitt was writing, Wordsworth himself, had written in the immediate aftermath of the French Revolution of how:
“许多以前不为人知的原因现在正在联合起来削弱心灵的辨别能力，并……将其降低到近乎野蛮麻木的状态。其中最有效的原因是每天都在发生的重大国家事件，以及城市中人口的不断增加，他们的职业的统一性产生了对非凡事件的渴望，而每小时快速的情报交流可以满足这些事件。国家的文学和戏剧展览也顺应了这种趋势。我们老作家的无价作品……被疯狂的小说、病态而愚蠢的德国悲剧以及大量的无聊而夸张的故事所忽视。29
‘A multitude of causes, unknown to former times, are now acting with a combined force to blunt the discriminating powers of the mind, and ... to reduce it to a state of almost savage torpor. The most effective of these causes are the great national events which are daily taking place, and the increasing accumulation of men in cities, where the uniformity of their occupations produces a craving for extraordinary incident which the rapid communication of intelligence hourly gratifies. To this tendency ... the literature and theatrical exhibitions of the country have conformed themselves. The invaluable works of our older writers ... are driven into neglect by frantic novels, sickly and stupid German tragedies, and deluges of idle and extravagant stories.’29
确实，没有什么比那股已经开始席卷欧洲艺术想象的狂热更能体现黑兹利特的“强大的发酵”了，这种狂热与我们与浪漫主义现象联系在一起的所有梦想、妄想和过度行为有关。正如我们已经看到的，这种剧变在当时作家想象故事的精神重心发生的转变中最为明显。正是在这里，我们比其他任何地方都能更清楚地看到西方文明中正在发生的事情是如何在自我和自我之间发展出一种新的分裂。由于所有为人们的生活提供精神和心理中心的信仰和习俗的文化框架都被拆除了，
Nothing indeed was more expressive of Hazlitt’s ‘mighty ferment’ than that great fever which had already begun to sweep through the artistic imagination of Europe and that was to be associated with all the dreams, delusions and excesses we associate with the phenomenon known as Romanticism. And nowhere was this upheaval more evident, as we have already seen, than in the shift which was taking place around that time in the psychic centre of gravity from which writers imagined stories. It is here we can see more clearly reflected than anywhere else how what was happening in Western civilisation was a new kind of split developing between the ego and the Self. As all the cultural framework of beliefs and customs which provided people with a spiritual and mental centre to their lives was being dismantled, what was emerging was storytelling of a kind which had never been seen before.
自我正在挣脱束缚。这是人类心理进化新阶段的开始，两个世纪后我们仍然生活在这个阶段。
The ego was slipping its leash. It was the beginning of that new phase in the psychic evolution of mankind with which we are still living two centuries later.
第三十四章
洛基时代
自我的瓦解
Chapter Thirty-Four
The Age of Loki
The Dismantling of the Self
‘失道而有德，失道而有德。失德而有仁；失德而有仁；失德而有仁；失德而有仁。失去了仁，就有了义；失去了仁，就有了义；失去了仁，就有了义。失了正则有礼；失了正则有礼；失了正则有礼。礼是忠信的衰落，是混乱的开始。
‘When the Way was lost, there was virtue; when virtue was lost there was benevolence; when benevolence was lost there was rectitude; when rectitude was lost there were the rites; the rites are the wearing thin of loyalty and good faith and the beginning of disorder.’
老子《道德经》三十八
Lao Tzu, Tao Te Ching, XXXVIII
'事情分崩离析；中心无法容纳；
‘Things fall apart; the centre cannot hold;
世界上只剩下无政府状态。
Mere anarchy is loosed upon the world.
血色暗潮散去；和无处不在
The blood dimmed tide is loosed; and everywhere
纯真的仪式被淹没；
The ceremony of innocence is drowned;
最好的人缺乏信念，而最差的人
The best lack all conviction, while the worst
都充满了热情的强度...
Are full of passionate intensity ...
多么粗暴的野兽，它的时刻终于到来了，
And what rough beast, its hour come round at last,
懒洋洋地走向伯利恒出生？
Slouches towards Bethlehem to be born?’
WB叶芝《第二次来临》
W. B. Yeats, The Second Coming
“去掉一点，调松那根弦，
‘Take but degree away, untune that string,
而且，请听，接下来会发生什么不和谐的事情！每件事都会遇到
And, hark, what discord follows! Each thing meets
仅仅出于反对...
In mere oppugnancy ...
力量应该是愚笨的主宰……
Strength should be lord of imbecility ...
武力应该是对的，或者更确切地说，是对的，也是错的……
Force should be right, or rather, right and wrong ...
应该失去他们的名字...
Should lose their names ...
那么一切事物都包含了自身的力量，
Then every thing includes itself in power,
力量变成意志，意志变成欲望，
Power into will, will into appetite,
还有食欲，一只普遍的狼......
And appetite, an universal wolf ...
必须使之成为普遍的猎物，
Must make perforce an universal prey,
最后把自己吃掉了。
And last eat up himself.’
尤利西斯、特洛伊罗斯和克瑞西达，I.iii
Ulysses, Troilus and Cressida, I.iii
人类历史上有一种神话传统与其他神话传统截然不同。这是一个神话之网，我们可以从北欧前基督教民族的各种史诗中拼凑出来，这些史诗展示了地球上生命的整个冒险，最终以一场巨大的、吞噬一切的灾难结束：条顿诸神黄昏、挪威诸神黄昏，诸神的消逝，世界的毁灭。这个故事有一个特点，使它成为我们最后一章的恰当序言，最后一章着眼于讲故事如何反映过去 200 年来西方文明意识的演变。
There is one mythological tradition in human history which stands separate from all the others. This is the web of myths which we can piece together from various epics of the pre-Christian peoples of northern Europe, which show the whole adventure of life on earth ending in a mighty, all-consuming catastrophe: the Teutonic Gotterdammerung, the Norse Ragnarok, the passing of the gods and the destruction of the world. There is one particular feature of this story which makes it an apt prologue to our final chapter, which looks at how storytelling has reflected the evolving consciousness of Western civilisation over the past 200 years.
与之前的许多其他神话一样，北欧神话将世界分为三个层次。人类居住的地方是米德加德或中土世界。它上面，天上有阿斯加德，众神阿萨神族的家园，由睿智的“万神之父”奥丁在他的瓦尔哈拉大厅主持。赫尔海姆（Helheim）昏暗的地下世界（“地狱”一词就是由此而来）是所有人类死后都去的地方，除了那些在战斗中阵亡并升入瓦尔哈拉的人之外。除了这三个熟悉的关卡之外，与米德加德和阿斯加德隔山相望的还有巨人居住的神秘国度尤顿海姆。尽管与诸神关系密切，但这些拥有超自然力量的残忍、奸诈的生物却是阿萨神族最可怕的敌人。如果众神代表了“上层世界”的意识，那么巨人就代表了他们险恶的影子。
Like many others before it, the Norse mythology saw the world as divided into three levels. That inhabited by mankind was Midgard or Middle Earth. Above it, in the heavens, was Asgard, home of the gods, the Aesir, presided over from his great hall, Valhalla, by the wise ‘All-Father’ Odin. The dim underworld of Helheim (from which we get our word ‘hell’) was where all human beings went after their death, except those killed in battle who ascended to Valhalla. In addition to these three familiar levels, separated from Midgard and Asgard by mountains, was the mysterious realm of Jotunheim, inhabited by giants. Although closely related to the gods, these often brutal, treacherous beings with supernatural powers were the Aesir’s worst enemies. If the gods represented ‘upper world’ consciousness, the giants represented their menacing shadow.
在世界及其所有居民创造之后的一段时间，奥丁和他的兄弟在米德加德徘徊，在约顿海姆边界附近的一条森林小路上，他们遇到了一位英俊的年轻人，他的眼睛闪闪发光，表情顽皮，他自我介绍为他们的“表弟”洛基。
Some time after the creation of the world and all its inhabitants, while Odin and his brother are wandering through Midgard, on a forest path near the borders of Jotunheim they meet a handsome young man with twinkling eyes and a mischievous expression, who introduces himself as their ‘cousin’ Loki.
洛基成为故事中最有趣的人物。尽管他出身巨大，但诸神还是欢迎他，因为他比任何人都迷人且聪明。但他的本性中有一些非常矛盾的东西。在阿萨神族与巨人之间永恒的竞争中，洛基的聪明才智将众神从一个又一个的困境中解救出来，尽管首先造成问题的往往是洛基自己的双面性。事实证明，他的诡计对众神非常有用，以至于众神邀请他成为他们中的一员。但不知何故，他们狡猾的新伙伴的所作所为似乎总是令人捉摸不透；他为他们带来的好处需要付出一些隐性的代价。
Loki becomes the most interesting figure in the story. Although he is of giant stock, the gods welcome him, because he is charming and cleverer than any of them. But there is something deeply ambivalent about his nature. In the perpetual rivalry between the Aesir and the giants, Loki’s ingenuity extricates the gods from one difficult situation after another, even though it is often Loki’s own two-sided nature which has created the problem in the first place. His trickery proves so useful to the gods that they invite him to become one of their own number. But somehow it seems there is always a catch to what their crafty new companion is up to; some hidden price to be paid for the benefits he brings them.
有一天，洛基消失了，奥丁本性的阴暗面得到了证实，奥丁从高耸的鹰巢俯瞰整个世界，最终惊恐地发现洛基正在尤顿海姆与三个年轻的怪物玩耍。原来，洛基偷偷与一位女巨人有染，而这些就是他们的后代：海拉，一半是活生生的女人，一半是腐烂的尸体；Jormengand，一种快速生长的蛇；还有芬里斯，一只凶猛的狼。这个消息如同晴天霹雳一样震撼了阿萨神族。这些可怕的生物是否注定有一天会在预言已久的世界末日“诸神黄昏”中扮演角色？，最后一场大战？在体力与战斗之神托尔的敦促下，众神采取措施消灭这些可怕的新来者。海拉被派去主持冥界。托尔将约梦加德扔进海里，结果这个怪物以米德加德蛇的形式盘绕在地球上。芬里斯狼最终被锁在一座岛上。但从现在开始，众神永远生活在恐惧之中，担心当诸神黄昏到来时，这些怪物的可怕力量将会被释放。
The dark side of Loki’s nature is confirmed when one day he disappears and Odin, looking down from the lofty eyrie from which he can view all the world, is eventually horrified to spy him in Jotunheim, playing with three young monsters. It turns out that Loki has sneaked off to have an affair with a giantess, and that these are their offspring: Hela, half a living woman, half a decaying corpse; Jormengand, a fast-growing serpent; and Fenris, a ferocious wolf. The news strikes the Aesir like a thunderclap. Are these hideous creatures destined some day to play a part in the long-prophesied end of the world, Ragnarok, the Last Great Battle? At the urging of Thor, god of physical strength and battles, the gods take steps to neutralise these fearsome new arrivals. Hela is sent down to preside over the underworld. Thor hurls Jormengand into the sea, only for the monster to coil itself round the earth as the Midgard Serpent. The Fenris Wolf is eventually chained up on an island. But from now on the gods live in perpetual fear that, when the day of Ragnarok arrives, the terrifying power of these monsters will be unleashed.
洛基为自己的后代报仇，偷偷剪掉了托尔妻子闪亮的金色头发。当托尔猜出谁是罪魁祸首时，洛基试图通过说服那些在深山中铸造黄金和奇妙发明的矮人制作一系列神奇的礼物来平息他的愤怒。其中之一是托尔妻子的新头发，由纯金制成。它们还包括一枚具有自我繁殖能力的金戒指，从而保证无限的财富，以及一套魔法武器：奥丁的长矛，在他投掷后总是回到他的手中；可以海上、陆地旅行的船和空气；还有托尔的强大之锤，其威力足以压倒任何对手。但这些礼物的呈现本身又引发了一场进一步的争吵，最后一个矮人愤怒地用皮革缝上了爱说话的洛基的嘴。其他诸神见他第一次说不出话来，全都笑了。当洛基撕下丁字裤时，他的嘴上留下了疤痕，笑容也扭曲了。从现在起，他和阿萨神族的矛盾变得更加严重。
Loki revenges himself for what has been done to his offspring by secretly cutting off the shining golden hair of Thor’s wife. When Thor guesses who is responsible, Loki attempts to appease his wrath by persuading the dwarves who fashion gold and wondrous inventions deep in the mountains to make a succession of miraculous gifts. One of these is new hair for Thor’s wife, spun from purest gold. They also include a gold ring which has the power to multiply itself, thus guaranteeing infinite riches, and a set of magic weapons: a spear for Odin which always returns to his hand after he has thrown it; a boat which can travel by sea, land and air; and a mighty hammer for Thor, so powerful that it will overwhelm any opponent. But the presentation of these gifts itself leads to a further row, which ends in one of the dwarves angrily sewing up the loquacious Loki’s mouth with leather. The other gods all laugh, at seeing him for once unable to speak. When Loki tears off the thong, it leaves his mouth scarred and his smile twisted. From now on he and the Aesir are set ever more at odds.
当奥丁最小的儿子、众神中最受喜爱的博德尔（Baldur）被宣布不受任何源自地球的物质制成的武器攻击时，摊牌就到来了。洛基现在变得如此黑暗，通过“黑暗反转”，他对完美的年轻英雄产生了强烈的仇恨。他发现能够伤害博德尔的一种物质是槲寄生，因为它生长在树上，因此不是直接来自地球。他将一根槲寄生的树枝变硬，制成飞镖，并说服博德失明的兄弟将其扔出去。令阿萨神族恐惧的是，他们中最心爱的人死了。他们很快就意识到谁犯了这个罪行，洛基被带到一个山洞里被囚禁，就像普罗米修斯一样，被钉在岩石上，毒液不断滴在他的皮肤上，永远处于痛苦之中。
The showdown comes when it is announced that Baldur, Odin’s youngest son and the most loved of all the gods, has been made invulnerable to attack by any weapon made from a substance which originated in the earth. So dark has Loki now become that, by ‘dark inversion’, he develops a passionate hatred for the perfect young hero. He discovers that the one substance which can harm Baldur is mistletoe, because it grows on trees and therefore not directly from the earth. He hardens a twig of mistletoe into a dart and persuades Baldur’s blind brother to throw it. To the horror of the Aesir, the most loved of their number falls dead. They soon realise who is guilty of this crime and Loki is taken to a cave to be imprisoned, like Prometheus, in perpetual agony, pinned to a rock with venom ceaselessly dripping onto his skin.
故事最终的结局只有一位能预见未来的智慧老妇人知道。她告诉奥丁，将会有三年永久的寒冷和黑暗，即芬布尔冬天。然后最后的大战将会开始，洛基和他的三个怪物将挣脱束缚，加入巨人队和地球上所有黑暗势力的行列，对阿斯加德发动可怕的攻击。俯视众神的黄昏的是苏尔特尔，他就像罗马的土星一样，掌管着结局和开始。经过一场激烈的斗争，托尔和尘世巨蛇将互相残杀。奥丁将被贪婪的芬里斯狼吃掉，芬里斯狼现在已经成长为巨大的体型，尽管它随后将被奥丁的儿子维达尔杀死。洛基将与另一位阿萨神族守望者海姆达尔进行殊死搏斗，最终双双死亡。
How the story eventually ends is only known from a wise old woman who can see the future. She tells Odin that there will be three years of perpetual cold and darkness, the Fimbull Winter. Then the Last Great Battle will begin, when Loki and his three monsters break their bonds, joining the Giants and all the dark forces of the earth in unleashing a fearful assault on Asgard. Looking down on this twilight of the gods will be Surtur who, like his Roman equivalent Saturn, presides over endings and beginnings. After a mighty struggle, Thor and the great Midgard Serpent will kill each other; Odin will be eaten by the ravening Fenris Wolf, now grown to enormous size, although it in turn will then be slain by Odin’s son Vidar. Loki will engage in mortal combat with another of the Aesir, Heimdall the Watchman, ending in both their deaths. Surtur will then spread fire over all the earth, and everything living will perish.
女预言家说，此时，“黑暗降临，我什么也看不见了”。但奥丁本人却有一个愿景。首先，他看到大地被风暴肆虐的海水所覆盖。然后，当他从海中升起时，他看到了一个新的地球，上面覆盖着森林、草地和河流。阳光下站着的是他的两个大儿子，以及托尔的儿子们，还有从赫尔海姆归来的博德尔也加入了他们的行列。在米德加德，似乎有两名隐藏在黑暗洞穴中的人类成员也逃离了苏尔特尔的大屠杀，他们也出现并开始在地球上重新繁衍生息。不久，新的大厅在阿斯加德拔地而起，孩子们在玩耍，奥丁高兴地哭泣。当他死去的儿子躺在葬礼船上时，他终于知道了他在博德耳边低声说出的那个神秘词的含义。这个词就是“重生”。
At this point, says the prophetess, ‘darkness descends and I can see no more’. But then Odin himself has a vision. First he sees the earth covered with a great waste of storm-tossed waters. Then, rising out of the sea, he sees a new earth, covered in forests, meadows and rivers. There standing in the sunshine are his two older sons, together with the sons of Thor, and they are joined by Baldur, returned from Helheim. Down in Midgard, it seems that two members of the human race, hiding away in a dark cave, have also escaped Surtur’s holocaust, and they too emerge to begin repopulating the earth. Soon new halls are rising in Asgard, children are playing and Odin weeps for joy. At last he knows the meaning of the mysterious word he had whispered into Baldur’s ear as his dead son lay on his funeral ship. The word had been ‘rebirth’.
洛基在这一系列故事中所扮演的角色之所以如此重要，正是因为他非凡的矛盾心理。他具有无穷无尽的创造力，但奇怪的是，他不道德。他直接或间接地为众神提供了巨大的利益。他给他们带来了巨大的财富、安全、和平与繁荣、一系列可怕的武器、神奇的新运输方式。但总有那么一丝阴暗他的聪明才智的背后，是要付出的隐藏代价，最重要的是他所诞生的可怕怪物，尽管它们可以在很长一段时间内保持在视线之外并受到控制，但最终注定会扮演一个角色。毁灭世界的关键部分。
What makes the role played by Loki in this sequence of stories so significant is precisely his remarkable ambivalence. He is endlessly inventive, yet strangely amoral. Directly or indirectly he provides the gods with immense benefits. He brings them great riches, security, peace and prosperity, an array of fearsome weapons, magical new modes of transport. But always there is that shadowy underside to his feats of ingenuity, that hidden price to be paid, and nothing more so than the dreadful monsters he brings to birth which, although for a long time they can be kept out of sight and under control, are eventually destined to play a crucial part in destroying the world.
洛基就像普罗米修斯一样与火联系在一起，他的功能是将自我意识拟人化1；人类大脑的创造力在过去两个世纪中给智人带来了惊人的繁荣，并赋予了他们以前所未有的规模将地球改造为自己的物质优势的能力。然而，片面的人类意识的前进所带来的每一次新进步都需要付出代价：当然，最重要的是，它带来了对自然力量的前所未有的控制，这种控制有可能摧毁自然力量。地球和它所包含的所有生命千百次。
The function of Loki, who like Prometheus was associated with fire, is to personify ego-consciousness1; that inventive capacity of the human brain which, never more than in the past two centuries, has given Homo sapiens astonishing prosperity and the power to transform the earth to his own material advantage on an unprecedented scale. Yet for every new advance made possible by the onward march of one-sided human consciousness there has been a price to be paid: not least, of course, that it has brought that unprecedented command over the forces of nature which has the potential to destroy the earth and all the life it contains a thousand times over.
正是在这方面，洛基这个角色为最后一章提供了恰当的介绍，让我们看看过去 200 年的故事讲述揭示了人类意识的胜利进化所投下的越来越长的阴影。
It is in this respect that the character of Loki provides an appropriate introduction to this final chapter, as we look at what the storytelling of the past 200 years reveals of the lengthening shadow cast by mankind’s triumphantly evolving consciousness.
十九世纪的分水岭：想象力与幻想
The nineteenth-century watershed: Imagination and fantasy
在第三部分中，我们看到了在 1800 年左右的几十年里，西方叙事方式如何开始发生显着变化。直到那时，人类想象的绝大多数故事都反映了与自我价值观的本能和谐。但现在发生了前所未有的事情。在许多情况下，故事背后的原型模式开始通过讲故事的人的自我折射，这产生了两个后果。
In Part Three we saw how, in the decades around 1800, a remarkable change began to come over Western storytelling. Up to that time the vast majority of stories imagined by mankind had reflected an instinctive harmony with the values of the Self. But now something unprecedented happened. In many instances, the archetypal patterns underlying stories began to be refracted through the story-teller’s ego, and this had two consequences.
首先，它产生了故事类型的“黑暗反转”，典型地展示了无私的英雄或女英雄走向幸福的结局。现在，我们看到此类故事中出现了一种新型英雄，他本人以自我为中心。但在如此违背自我价值观的过程中，他最终无法达到目标。
Firstly, it produced a ‘dark inversion’ of the types of story which archetypally show selfless heroes or heroines coming to a happy ending. We now see a new type of hero appearing in such stories, who is himself egocentric; but in thus defying the values of the Self, he cannot ultimately reach the goal.
其次，当故事与自我更深层次的价值观失去联系时，它们就会变得感伤。即使他们试图表现出原型模式的外在形式，因为他们不再关心中心人物的内在转变，他们也变成了纯粹的“娱乐”。他们仍然设法利用观众的原型条件情绪反应，但只是以一种外在的、虚构的方式。他们的角色只不过是二维的刻板印象。
Secondly, as stories lost touch with the deeper values of the Self, they became sentimentalised. Even where they try to act out the outward form of an archetypal pattern, because they are no longer concerned with the inner transformation of their central figures they become mere ‘entertainments’. They still manage to play on their audience’s archetypally-conditioned emotional responses, but only in an outward, make-believe fashion. Their characters become no more than two-dimensional stereotypes.
这样的心灵地震不可能完全凭空而来。早在浪漫主义出现之前，人们就已经感受到了它的先兆震动。例如，即使在今天，找到一个以完全黑暗的女主角和女主角取得胜利的幸福结局为主角的故事也是非常不寻常的。但这样的故事早在 1643 年就出现在第一位大型歌剧作曲家克劳迪奥·蒙特威尔第 (Claudio Monteverdi) 晚年创作的一部作品中。波佩亚的加冕礼首先展示了皇帝尼禄与新情妇波佩亚的通奸，波佩亚已与年轻的奥托订婚。看到至高无上的奖品即将触手可及，波佩亚决心尼禄应该离开他的妻子奥克塔维亚，让她成为自己的皇后。当明智的老哲学家塞内卡建议反对时，尼禄命令他自杀。波佩亚很高兴，但奥克塔维亚说服奥托谋杀她，以报复她的不忠。谋杀阴谋落空，奥托被流放。奥克塔维亚听天由命。可怕的英雄将他诡计多端的情妇加冕为罗马皇后，他们欣喜若狂地唱了一首二重唱来庆祝他们爱情的胜利。
Such a psychic earthquake could not have come completely out of nowhere. Its premonitory tremors were felt long before the emergence of Romanticism proper. Even today, for instance, it would be very unusual to find a story which featured a wholly dark heroine and heroine coming to a triumphant happy ending. But such a story appeared as early as 1643, in a work written at the end of his life by Claudio Monteverdi, the first composer of full-scale operas. The Coronation of Poppaea begins by showing the emperor Nero enjoying an adulterous affair with a new mistress, Poppaea, who is engaged to marry young Otho. Seeing the supreme prize almost within her grasp, Poppaea is determined that Nero should leave his wife Octavia and make her his empress. When the wise old philosopher Seneca advises against this, Nero orders him to commit suicide. Poppaea rejoices, but Octavia persuades Otho to murder her in revenge for her faithlessness. The murder plot comes unstuck, and Otho is banished. Octavia resigns herself to her fate. The monstrous hero crowns his scheming mistress as empress of Rome, and they sing an ecstatic duet to celebrate the triumph of their love.
正是在十七世纪中叶那个动荡时代的同一时期，约翰·弥尔顿正在为他的戏剧诗《失乐园》创作第一幅草图。他将故事的中心人物和上帝的主要对手——堕落天使撒旦塑造得如此有吸引力和可信，以至于后来促使威廉·布莱克发表了他的著名评论，即弥尔顿“在不知情的情况下属于魔鬼一方”。
At exactly the same period of that turbulent epoch of the mid-seventeenth century, John Milton was working on the first sketches for his dramatic poem, Paradise Lost. So attractive and plausible did he make his story’s central character and God’s chief antagonist, the fallen angel Satan, that this was later to prompt William Blake to his famous comment that Milton was ‘of the Devil’s party without knowing it’.
然而，直到一个世纪后，浪漫主义大剧变的更直接的先驱才开始出现，最早的先驱之一就是 1748 年在欧洲引起轰动的早期小说，理查森的《克拉丽莎》。这部关于一位黑暗英雄执着地想要毁掉一位贞洁善良的女主人公的故事，最终对她下药并强奸她，以达到他的目的，标志着这个人物的出现，他在接下来的一百年里成为了浪漫主义倒置的最高表现。在西方故事中：“受迫害的少女”，被侵犯的阿尼玛。
It was not until a century later, however, that more direct precursors of the great Romantic upheaval began to appear, one of the first being that early novel which caused such a stir across Europe in 1748, Richardson’s Clarissa. This account of a dark hero obsessively setting out to deflower a chaste and virtuous heroine, eventually drugging and raping her to succeed in his quest, marked the appearance of that figure who over the following 100 years was to become the supreme expression of the Romantic inversion in Western storytelling: the ‘persecuted maiden’, the violated anima.
1760 年代霍勒斯·沃波尔 (Horace Walpole) 的《奥特朗托城堡：一个哥特式故事》（1765）是第一部“哥特式小说”，在几十年内将成为欧洲讲故事的主导体裁之一。这部耸人听闻的奇幻作品配备了后来人们所熟悉的阴暗拱顶、幽灵般的幽灵、险恶的森林和流血的雕像等舞台机械，通过将以前在理性的“理性时代”中的黑暗超自然意象带回讲故事中，激起了巨大的时尚关注。 “启蒙运动”几乎已经消失在人们的视线中。但它以一种奇怪的人为方式做到了这一点。所发生的事情是，人类存在的超自然维度，自中世纪以来，被西方文明日益片面的意识逐渐推入无意识，现在重新出现，但以一种感伤的、“低等的”方式出现。形式，只是为了提供娱乐。再次，在故事的高潮，我们看到了对当暴君英雄在夜间冲进墓地，希望刺死无辜且受迫害的女主角时，却发现，就像后来威尔第《弄臣》中的英雄一样，他无意中谋杀了自己的女儿。这是对那个充满戏剧性的暮色世界的预感，将情感发挥到最大的情感效果，这在十九世纪的故事讲述中变得司空见惯，尤其是在歌剧中。
In the 1760s Horace Walpole’s The Castle of Otranto: A Gothic Story (1765) was the first of those ‘Gothic novels’ which within a few decades would become one of the dominant genres in European storytelling. Complete with all the later familiar stage-machinery of gloomy vaults, ghostly apparitions, sinister forests and bleeding statues, this sensationalist fantasy excited huge fashionable attention by bringing back into storytelling the type of dark supernatural imagery which previously, in the rational ‘age of the Enlightenment’, had virtually dropped out of sight. But it did so in a curiously artificial fashion. What was happening was that the supernatural dimension to human existence which, since the Middle Ages, had been gradually pushed down into the unconscious by the increasingly one-sided consciousness of western civilisation was now re-emerging, but in a sentimentalised, ‘inferior’ form, merely to provide entertainment. Again, at the story’s climax, we see the violation of the anima when the Tyrant hero rushes to a graveyard at night in the hope of stabbing to death the innocent and persecuted heroine, only to find, like the later hero of Verdi’s Rigoletto, that he has inadvertently murdered his own daughter. It was a premonition of that melodramatic twilight world, playing on the emotions to maximum sentimental effect, which was to become commonplace in nineteenth-century storytelling, not least in opera.
即将到来的地震的另一个预兆是1770年代初的狂飙运动，其中最著名的产物是歌德的感伤幻想《少年维特之烦恼》。我们第一次看到“黑暗反转”接管了悲剧的情节。观众被邀请去认同那个愚蠢的年轻中心人物对纸板女主人公的迷恋，以至于他自欺欺人的不成熟理应变成英雄。
Another foretaste of the earthquake to come was the Sturm und Drang movement of the early 1770s, of which the most celebrated product was Goethe’s sentimental fantasy The Sorrows of Young Werther. For the first time we see the ‘dark inversion’ taking over the plot of Tragedy. The audience is invited so to identify with the foolish young central figure in his infatuation with the cardboard heroine that his self-deluding immaturity supposedly becomes heroic.
1780 年代，当法国走向革命的灾难时，德萨德的《贾丝汀的不幸》从心理学角度来说是一个世界上从未见过的黑色故事：完全集中在其作者通过幻想长期的虐待和虐待而产生的精神感受上。纯洁无私的阿尼玛人物的性堕落，正是他给这本书起了个名字。
In the 1780s, as France moved towards the cataclysm of its revolution, de Sade’s Misfortunes of Justine was in psychological terms as black a story as the world had yet seen: centred entirely on the mental sensations its author derived from fantasising about the prolonged sadistic and sexual degradation of the pure and selfless anima-figure who gave the book its title.
革命性的 1790 年代带来了大量“疯狂”和“奢侈”的故事，这些故事激起了华兹华斯的蔑视，其中最精彩的莫过于那十年最畅销的“哥特式小说”。1794 年，安妮·拉德克利夫的《乌道夫之谜》赢得了当时创纪录的小说预付款（500 英镑），该书描述了小说中年轻的孤儿女主人公如何被她邪恶的叔叔绑架，并被囚禁在亚平宁山脉一座偏远神秘的城堡里。在这里，他让她遭受各种侮辱和恐怖，有些似乎是超自然的，他试图迫使她放弃她的美德和财富。她最终完成了一次“惊心动魄的逃亡”，并最终与她所爱的年轻人团聚，迎来了美好的结局。两年后 MG Lewis 的The Monk类似的商业成功，描述了一位值得尊敬的西班牙修道院院长，被一个被魔鬼附身的女人所腐蚀，而这个女人伪装成男性沙弥进入了他的修道院。现在，他已经彻底堕落了，他无情地追求一个虔诚的年轻女孩，她来向他寻求赦免。最后，为了避免被发现，他谋杀了她，但被宗教裁判所抓住并遭受酷刑。他通过与魔鬼签订契约而逃脱了焚烧，但最终被扔进了地狱之火。
The revolutionary 1790s brought that deluge of ‘frantic’ and ‘extravagant’ stories which inspired such contempt in Wordsworth, none more fantastic than those ‘Gothic novels’ which were the best-sellers of the decade. In 1794 Anne Radcliffe’s The Mysteries of Udolpho won a then-record advance for a novel (£500), describing how its orphaned young heroine is kidnapped by her villainous uncle and imprisoned in a remote, mysterious castle in the Apennines. Here he subjects her to every kind of indignity and horror, some seemingly supernatural, in his efforts to force her to surrender her virtue and her fortune. She eventually makes a ‘thrilling escape’ and finally comes to a pasteboard happy ending in being reunited with the young man she loves. Two years later M. G. Lewis’s The Monk was a similar commercial success, describing a worthy Spanish abbot who becomes corrupted by a woman possessed by the devil, who has entered his monastery disguised as a male novice. Now utterly depraved, he relentlessly pursues a pious young girl who has come to him for absolution. Finally, to avoid detection, he murders her, but is caught and tortured by the Inquisition. He escapes burning by making a pact with the devil, but ends being cast into the fires of hell.
华兹华斯和他的朋友柯勒律治在 19 世纪初期意识到，所有这些故事与世界上几乎所有以前见过的故事（除了那些在后来的罗马帝国时期流行的那些情节剧的早期“小说”）的不同之处在于，他们试图区分“想象力”和“幻想”（或幻想）。产生这些基于幻想的故事类型的心理过程与创造莎士比亚戏剧（或者就这一点而言，简·奥斯汀刚开始写小说时）的心理过程之间存在根本区别。 “哥特式恐怖”的流行正达到顶峰）。莎士比亚的戏剧源于真正的创造性想象力，它与我们的内心现实和我们周围的世界联系在一起，基于对人性的深刻观察和直观理解。相比之下，德萨德或“哥特式小说家”的故事不是来自想象，而是来自幻想，而幻想的运作方式却截然不同。
What marked out all these stories from almost anything the world had seen before (except those melodramatic early ‘novels’ which circulated during the later Roman empire) was something sensed by Wordsworth and his friend Coleridge when, in the early years of the nineteenth century, they tried to draw a distinction between ‘imagination’ and ‘fancy’ (or fantasy). There is a fundamental distinction between the psychological process which gives rise to these fantasy-based types of story, and that which created, say, the plays of Shakespeare (or, for that matter, the novels Jane Austen was beginning to write just when the vogue for ‘Gothic horror’ was at its height). Shakespeare’s plays stem from a genuinely creative imagination which connects with our inner reality and that of the world around us, based on profound observation and an intuitive understanding of human nature. By contrast, the stories of de Sade or the ‘Gothic novelists’ were created not from imagination but from fantasy, which operates in a quite different way.
正如柯勒律治在他的《文学传记》 （1817）中所说，想象力是一种有生命的东西，它产生原创的观察和图像，从而提高和加深我们对世界的感知和理解。但心灵的幻想或白日梦水平与理解无关。它是二维的。它处理的是固定的、“死的”图像，可以用来在我们的意识中触发一种想要的东西。效果，但与“现实世界”没有任何联系。它们只不过是墙上的影子，这就是为什么基于幻想的故事向我们呈现出这样的纸板人物，并且只提供了人类情感的伪造品。
Imagination, as Coleridge puts it in his Biographia Literaria (1817), is a living thing, producing original observations and images which heighten and deepen our perception and understanding of the world. But the fantasy or daydreaming level of the mind is not concerned with understanding. It is two-dimensional. It deals in fixed, ‘dead’ images, which can be used to trigger off in our consciousness a desired effect but which have no connection with the ‘real world’. They are no more than the play of shadows on a wall, which is why stories based on fantasy present us with such cardboard characters and provide only the counterfeit of human emotion.
幻想对我们思想的影响可能非常强大，但这取决于它的运作方式，就像白日梦一样，它是通过暗示来运作的。它以 nyktomorphs 为食，那些模糊的、未解决的图像会引起情绪反应，因为它们通过给我们的大脑提供足够的信息来充分掌握它们，从而戏弄我们的大脑。基于幻想的写作最明显的技巧之一是它使用特定单词来触发这种自动反应的方式。例如，加上一些暗示性的、不完整的词，如“无量”或“无光”，原本直接的地下溪流形象可能会被想象成（柯勒律治本人，在他所有的诗中最明显的梦幻般的诗中）线条强大如：
The effect of fantasy on our minds can be extraordinarily powerful, but this relies on the way that, like day-dreaming, it operates by suggestion. It feeds on nyktomorphs, those shadowy, unresolved images which arouse an emotional response for the very reason that they tease our brain by giving it insufficient information fully to get hold of them. One of the most obvious tricks of fantasy-based writing is the way it uses particular words to trigger off such an automatic response. With the addition of a few suggestively incomplete words such as ‘measureless’ or ‘sunless’, for instance, the otherwise straightforward image of a stream flowing underground may be conjured (by Coleridge himself, in the most overtly dreamlike of all his poems) into lines as powerful as:
'圣河阿尔夫流淌的地方
‘Where Alph the sacred river ran
穿过人类无法估量的洞穴
Through caverns measureless to man
沉入没有阳光的大海。
Down to a sunless sea.’
从浪漫主义的故事讲述或诗歌中去掉所有这样的夜行触发词，如无名、无限、怪异、神秘、奇怪、仙女、着魔、幽灵般、阴沉、幻影、幽灵般、梦幻般、模糊、超凡脱俗、潜伏、困扰、颤抖，晦涩的，狂暴的，可怕的，恐惧的，恐惧的，等等，许多令人钦佩的故事和诗歌留下来的东西不会比电话簿更有趣，也没有什么意义。因此，雪莱在《大海的幻象》中写道：
Take away from Romantic storytelling or poetry all such nyktomorphic trigger words as nameless, infinite, weird, mysterious, strange, faery, enchanted, ghostly, gloomy, phantom, wraith-like, dream-like, nebulous, unearthly, lurking, haunting, trembling, obscure, tempestuous, ghastly, fearful, dread, etc, and what was left of many admired stories and poems would be no more interesting and a good deal less meaningful than the telephone directory. Thus in A Vision of the Sea Shelley writes:
……那里有喷涌而下的热血的嗡嗡声
‘... where the hum of the hot blood that spouts and rains
老虎的夹击伤了静脉
Where the gripe of the tiger has wounded the veins
膨胀他的愤怒、力量和努力；旋转和飞溅_
Swollen his rage, strength and effort; the whirl and the splash
就像一些可怕的引擎，其黄铜牙齿粉碎
As of some hideous engine whose brazen teeth smash
细风柔浪化为雷霆。
The thin winds and soft waves into thunder.’
事实上，这只不过是一系列暗示性图像和暴力声音，它们本身陷入了最终毫无意义的疯狂（例如，“热血的嗡嗡声”）。但在幻想层面上它达到了它的效果，这就是为什么华兹华斯在描述雪莱的诗时这样写道：
In reality this is no more than a catalogue of suggestive imagery and violent sounds working themselves into a frenzy that is ultimately meaningless (e.g., ‘the hum of the hot blood’). But on a fantasy level it achieves its effect, which was why Wordsworth wrote of Shelley’s poetry that it was:
“占星学之于自然科学——一个充满激情的梦想，对不可能的事物的努力，对美好猜想的记录，对模糊抽象的混乱体现——灵魂的狂热，对它无法拥有的东西的渴望和渴望，沉迷于对权力和权力的热爱。”新颖性是以牺牲真理和自然为代价的。
‘what astrology is to natural science – a passionate dream, straining after impossibilities, a record of fond conjectures, a confused embodying of vague abstraction – a fever of the soul, thirsting and craving after what it cannot have, indulging its love of power and novelty at the expense of truth and nature.’
当然，开启浪漫主义文学之路的“哥特小说”通过大量的夜行意象达到了其效果，这常常使读者很难弄清楚究竟发生了什么。但这些故事的吸引力并不在于它们为世界带来了更清晰的曙光。它们为读者提供了一系列的心理感觉：正是因为这些图像没有被解决，所以才引发了心灵的激动。
Certainly the ‘Gothic novels’ which launched literary Romanticism on its way achieved their effect through an abundance of such nyktomorphic imagery, which often makes it difficult for the reader to work out exactly what is going on. But the appeal of such stories was not that they cast a clearer light on the world. It was that they provided the reader with a stream of mental sensations: images which trigger a thrill in the mind precisely because they are not resolved.
当我们回想起故事的原型目的是实现完美的解决时，而这样的故事达到最完全解决的点是英雄可以解放并与“轻柔的女性”结合在一起，作为讲故事的最高价值，我们可以理解为什么这种新型故事没有比它如何痴迷地关注受虐待的女主人公的形象更能说明问题的了。 。
When we recall that the archetypal purpose of stories is to achieve a perfect resolution, and that the point at which such a story reaches its fullest resolution is where the hero can liberate and be united with the ‘light feminine’, as the highest value in storytelling, we can see why there was no more revealing feature of this new type of story than how obsessively it focused on the image of the abused heroine.
故事中女主人公受到虐待的景象本身并不新鲜。但当奥赛罗谋杀苔丝狄蒙娜、哈姆雷特拒绝奥菲莉亚或李尔王拒绝科迪莉亚时，其真正意义在于它揭示了英雄内心正在发生的事情。它比任何事情都更清楚地表明他如何与真实的感受和理解隔绝：自我的女性价值观。当德萨德幻想贾斯汀遭受的残酷和性侮辱时，他唯一关心的是这会在他自己的脑海中激起的兴奋。这种感觉的本质是心灵的幻想层面从思考对阿尼玛的侵犯中获得的满足感，作为自我的最高方面。通过“黑暗反转”，自我不再从属于自我，从而从拒绝和侵犯它所逃避的事物中获得最大的能量。
In itself there was nothing new about the sight of a story’s heroine being maltreated. But when Othello murders Desdemona or Hamlet rejects Ophelia or Lear rejects Cordelia, the real significance of this is what it reveals of what is going on inside the hero. It shows more clearly than anything how he has become cut off from true feeling and understanding: the feminine values of the Self. When de Sade fantasises about the cruelties and sexual degradations inflicted on Justine, his only concern is the thrill this can excite in his own mind. The essence of that sensation is the gratification the fantasy-level of the mind derives from contemplating the violation of the anima, as the highest aspect of the Self. By the ‘dark inversion’, the ego no longer subordinated to the Self thus derives its greatest energy from rejecting and violating the very thing it has escaped from.
然而，无意识的运作是如此微妙，以至于它的反应就像一种自我纠正机制一样，表明这种过程最终结束的唯一方式就是死亡和毁灭。这就是我们在那些反映浪漫主义阴暗面的故事中看到的模式，因为浪漫主义在十九世纪初期席卷了欧洲的集体无意识。
So subtle are the workings of the unconscious, however, that its response, like a self-correcting mechanism, is then to show that the only way such a course can ultimately end is in death and destruction. Such is the pattern we see emerging in those stories which reflected the darker side of Romanticism as it swept through the collective unconscious of Europe in the early decades of the nineteenth century.
正如我们所见，玛丽·雪莱的《弗兰肯斯坦：现代普罗米修斯》（1817）最引人注目的是，它展示了一位黑暗英雄诞生了一个怪物，而这个怪物以阴暗的“低等”形式代表了他被拒绝的自我。从其他方面来看，它都是典型的“哥特式”奇幻作品，具有一系列常规的耸人听闻的“哥特式”图像和纸板角色。这个故事之所以如此不寻常，是因为我们认为这个怪物最初是仁慈的。然后，当盲目无情的英雄三次拒绝他的影子时，那个善良的怪物变得越来越黑暗，直到第三次它背叛了它的创造者并摧毁了他。
Mary Shelley’s Frankenstein: The Modern Prometheus (1817) was above all remarkable, as we have seen, in showing a dark hero bringing to birth a monster who represents his rejected Self in shadowy ‘inferior’ form. In every other respect it was a typical ‘Gothic’ fantasy, with its routine array of sensational ‘Gothic’ imagery and its cast of cardboard characters. What makes the story so unusual is that we see the monster as initially benevolent. Then, as the blind and heartless hero rejects his shadow three times, that benign monster becomes ever darker, until on the third occasion it turns on its creator and destroys him.
司汤达的《猩红与黑色》中最具启发性的特征之一（1830）是其以自我为中心且雄心勃勃的英雄迷恋拿破仑的方式。拿破仑的形象像历史上其他人一样深深地融入了他那个时代的意识中。他从无到有、成为欧洲统治者的方式使他以自己的方式成为浪漫主义运动的最高体现之一。法国大革命摧毁了从君主制到基督教的所有象征自我的旧集体框架。在它留下的空隙中，出现了这个迷人的梦幻人物，似乎象征着一种新的综合体：权力和青春活力与基于自由、平等和兄弟情谊的利他主义新社会秩序的结合。他对数百万同时代人的幻想如此执着，这并不奇怪。
One of the more revealing features of Stendhal’s The Scarlet and the Black (1830) was the way its egocentric and ambitious hero was obsessed with Napoleon. The image of Napoleon had burned itself into the consciousness of his time like no one else in history. The way he had sprung from nowhere to become the ruler of Europe made him in his own way one of the supreme embodiments of the Romantic movement. The French Revolution had pulled down all the old collective framework symbolising the Self, from the monarchy to the Christian religion. And there into the void it left rose this glamorous dream figure, seeming to symbolise a new synthesis: power and youthful energy married to an altruistic new social order, based on liberty, equality and brotherhood. It was not surprising that he exercised such an obsessive hold over the fantasies of millions of his contemporaries.
即使拿破仑的野心膨胀为狂妄自大，当他宣布自己为皇帝并开始将他的意志强加于整个大陆时，仍有许多人继续将他视为那个时代最英雄的人物。即使他的奇幻生涯已经完成了完整的五个阶段，并以耻辱性的垮台告终，他仍然作为一个人类所能取得的成就的典范而激发人们的钦佩，只要他足够伟大，能够摆脱所有束缚，超越一切。人类大众。正是这样的愿景激发了人们的灵感拉斯柯尔尼科夫谋杀老太太（尽管陀思妥耶夫斯基是从自我的角度来描绘的）。正是这样的愿景激发了司汤达的灵感，他开始幻想自己的白日梦，成为一个比他自己更无情、以自我为中心的白手起家的英雄。就在朱利安·索雷尔竭力追求那个服从于他自己的自我的虚假形象时，无意识介入了，使他遭受了比等待他的英雄拿破仑更猛烈的毁灭。
Even when Napoleon’s ambition swelled into megalomania, as he declared himself emperor and began imposing his will by force over a whole continent, there were many who continued to see him as the most heroic figure of the age. Even when his fantasy-career had run its full five-stage course, ending in humiliating downfall, he still inspired admiration as the model of what an individual human being could achieve, if only he were great enough to throw off all constraint in rising above the mass of mankind. It was such a vision which would inspire Raskolnikov to murder old ladies (although this would be portrayed by Dostoyevsky from the perspective of the Self). And it was such a vision which inspired Stendhal, when he came to fantasise his extended day-dream of a Rags to Riches hero even more ruthlessly egocentric than himself. Even as Julien Sorel stretched out for that make-believe image of the Self subordinated to his own ego, the unconscious intervened, to bring him to a destruction more violent than that which had awaited his hero Napoleon.
但无论如何，浪漫主义运动此时已在欧洲如火如荼地进行。西方意识演变的这一章就这样开始了，直到今天：我们可以分五个阶段来追踪它的历史。
But by now, regardless, the Romantic movement was in full swing all over Europe. Thus began that chapter in the evolution of western consciousness which was to lead up to the present day: the history of which we can follow in five stages.
1.浪漫主义的黄金时代：1830-1890
1. The golden age of romanticism: 1830–1890
讲故事并不是十九世纪初经历这种转变的唯一艺术表达形式。我们在所有艺术中都看到了这一点，从绘画到诗歌再到建筑，但最明显的莫过于音乐，在十八世纪和十九世纪初，音乐是表达与自我价值观完全和谐的最后一种艺术形式。在巴赫和亨德尔、莫扎特和海顿、贝多芬和舒伯特的音乐中，欧洲音乐已经发展到能够最充分地表达这些价值观的程度，而西方想象力尚未表现出自己的能力。对此的反映之一是“奏鸣曲形式”的原型结构，在古典音乐达到顶峰的几十年里，它一直处于古典音乐的中心。这通常表现出一种自信，
Storytelling was not the only form of artistic expression which went through this kind of transition in the early nineteenth century. We see it in all the arts, from painting to poetry to architecture, but in none more acutely than music, which in the eighteenth and early nineteenth centuries had been the last art-form to express complete harmony with the values of the Self. In the music of Bach and Handel, Mozart and Haydn, Beethoven and Schubert, European music had developed to the point where it was able to express those values to the fullest extent of which the Western imagination had yet shown itself capable. One reflection of this was the archetypal structure underlying ‘sonata form’, which was at the centre of classical music during the decades when it reached its zenith. This usually showed an assertive, essentially masculine thematic ‘first subject’ being followed by a more graceful, essentially feminine ‘second subject’, the two then combining and inter-weaving through the ‘development’ section, to return at the end transformed, bringing the movement to a perfect resolution.
然而，在十九世纪初期的几十年里，年轻作曲家的作品中有明显的迹象表明，随着浪漫主义时代的到来，古典时代的形式结构正在变得模糊和感伤。在 1810 年之后的十年里，没有哪位作曲家能像罗西尼那样在世界范围内赢得如此高的知名度。正如崇拜他的英雄的传记作家司汤达所观察到的那样，罗西尼歌剧中令人眼花缭乱、朗朗上口的主题，从纽约到圣彼得堡，从布宜诺斯艾利斯到悉尼，都受到人们的欢迎。然而，没有人比贝多芬更敏锐地意识到这标志着当代音乐本质正在发生深刻的转变，正如他在 1824 年观察到的那样，“在罗西尼的时代，真正的音乐几乎不受欢迎”。2
In the early decades of the nineteenth century, however, there were clear signs in the work of younger composers that the formal structures of the classical era were becoming blurred and sentimentalised by the approach of the age of Romanticism. No composer had ever won such world-wide popularity as Rossini in the decade after 1810. The dazzlingly catchy themes from Rossini’s operas, as his hero-worshipping biographer Stendhal observed, were hailed from New York to St Petersburg, from Buenos Aires to Sydney. Yet no one was more keenly aware that this signalled a profound shift taking place in the nature of contemporary music than Beethoven, as when he observed in 1824 that, ‘in this age of Rossini, true music has little welcome’.2
托马斯·曼在小说《浮士德博士》中描述了叙述者和他的朋友们参加一位睿智的老音乐老师的讲座，老师为他们演奏并讲解贝多芬最后一首钢琴奏鸣曲《作品111》的结尾咏叹调，他们深受感动。当他完成最后几小节时，他砰地一声关上了钢琴，宣布“奏鸣曲就此结束”；他的意思不仅仅是这个特定的C小调奏鸣曲已经结束，但奏鸣曲形式是一般的，以及它所代表的一切。音乐的古典时代，前所未有地探索了人类精神的高度和深度，已经结束了（除了贝多芬在 1827 年去世前最后作品的辉煌日落，以及舒伯特的神奇黄昏，他于 1827 年去世）下一年）。
In his novel Doctor Faustus, Thomas Mann describes the narrator and his friends attending a lecture by a wise old music teacher, who plays and expounds to them the closing arietta of Beethoven’s last piano sonata, Opus 111. They are deeply moved. When he has completed the final bars he bangs shut the piano, pronouncing ‘thus ends the sonata’; by which he means not just that this particular sonata in C Minor is concluded but sonata form in general, and all that it represented. The classical age in music, which had plumbed the heights and depths of the human spirit like nothing else, was over (apart from the glorious sunset of Beethoven’s own final works before his death in 1827, and the magical twilight of Schubert, who died the following year).
突然间，音乐发生了变化，甚至比讲故事还要戏剧性。无论柏辽兹和舒曼、李斯特和瓦格纳、勃拉姆斯和威尔第等作曲家多么有天赋，他们的音乐不再是由有意识和无意识之间的本能和谐所塑造的，而正是这种和谐使巴赫、莫扎特和贝多芬的作品达到了如此超然的完美。与自我的直接联系已经消失。模具坏了。自我入侵了。随之而来的是我们与浪漫主义时代联系在一起的所有阴暗的感伤、形式的瓦解、对轰动效应的追求。
Suddenly music changed, even more dramatically than storytelling. However gifted composers such as Berlioz and Schumann, Liszt and Wagner, Brahms and Verdi might be, their music was no longer shaped by that instinctive harmony between conscious and unconscious which had raised the works of Bach, Mozart and Beethoven to such a transcendent perfection. The direct contact with the Self had been lost. The mould was broken. The ego had intruded. And with it came all the cloudy sentimentality, the disintegration of form, the sensational striving for effect which we associate with the age of Romanticism.
柏辽兹在给瓦格纳的信中的评论“只有当我在井底看到月亮时，我才能画出月亮”，这对于真实想象力的力量与幻想技巧之间的区别没有比这更清晰的形象了。贝多芬不仅相信自我的神圣力量是他灵感的中心。他如此直接地体验到了它，以至于不需要在井里画出它的倒影。人们可能会开玩笑地指出，贝多芬和他的继承者之间的区别在于，贝多芬相信上帝，勃拉姆斯相信贝多芬，瓦格纳相信瓦格纳。但在这种变化中，我们也可以看到十九世纪西方人与自我本能整体关系所发生的事情的本质。
There could be no neater image of the difference between the power of true imagination and the artifice of fantasy than Berlioz’s comment, in a letter to Wagner, ‘I can only paint the moon when I see her at the bottom of a well’. Beethoven had not just believed in the divine power of the Self as the centre of his inspiration. He experienced it so directly he had no need to paint its reflection in a well. The difference between Beethoven and his successors, one might jokingly observe, was that Beethoven believed in God, Brahms believed in Beethoven and Wagner believed in Wagner. But in this declension we can also see the essence of what was happening in the nineteenth century to Western man’s relationship with the instinctive totality of the Self.
从表面上看，十九世纪的文明与其之前的世纪文明之间最明显的对比在于工业革命所带来的惊人转变。蒸汽动力和机器时代的到来，以工厂为基础的大规模生产，铁路和电报以难以想象的速度弥合了距离，突然间使人类比以往任何时候都远离自然状态。随之而来的是一种前所未有的感觉，即文明正在向前和向上发展：新的进化论强化了对“进步”的信念。人们开始将历史视为人类从原始、迷信的黑暗过去走向十九世纪现代文明光辉灿烂的漫长历程。
Outwardly, the most obvious contrast between the civilisation of the nineteenth century and that of the century which preceded it lay in the astonishing transformation produced by the industrial revolution. The coming of the age of steam power and the machine, factory-based mass-production, the railways and the telegraph bridging distances with unimaginable speed, was suddenly carrying humanity much further from a state of nature than ever before. With this came an unprecedented sense that civilisation was moving forwards and upwards: that belief in ‘progress’ which was reinforced by the new doctrine of evolution. People came to see history as a long climb out of the darkness of mankind’s primitive, superstitious past into the glorious light of modern nineteenth-century civilisation.
然而，尽管这个物质上胜利的时代将他们与自然和过去的隔绝达到了前所未有的程度，但他们仍然渴望失去那个已经消失的时代的确定性，在那个时代，他们的祖先能够享受到不可动摇的精神中心和超然维度的感觉。生活。十九世纪最引人注目的莫过于人们对中世纪意象兴趣的非凡复兴。在西方文明取得如此巨大的物质进步的同时，我们在沃尔特·司各特极其流行的小说中，在前拉斐尔派的绘画中，在丁尼生的诗歌，尤其是哥特式建筑风格的复兴，长期以来一直被嘲笑为野蛮和原始。霍勒斯·沃波尔 (Horace Walpole) 的草莓山 (Strawberry Hill) 和贝克福德 (Beckford) 的方特山 (Fonthill) 等如今遍布欧洲的新哥特式教堂和大教堂，更不用说威斯敏斯特宫等一些最重要的世俗建筑了。
Yet, even as this materially triumphant age cut them off from nature and the past to an unprecedented degree, so they hankered for the lost certainties of a vanished time when their ancestors had been able to enjoy the sense of an unshakeable spiritual centre and transcendent dimension to life. Few aspects of the nineteenth century were more remarkable than the extraordinary revival of interest in the imagery of the Middle Ages. At the very time when Western civilisation was making such dramatic material advances, so we see this wholesale gazing backward to the outward forms of mediaeval Christian Europe, in the hugely fashionable novels of Walter Scott, in the paintings of the pre-Raphaelites, in the poems of Tennyson, and above all in the revival of Gothic styles of architecture, so long derided as barbarous and primitive. A fashion which had begun almost playfully, heralding the approach of Romanticism in secular buildings such as Horace Walpole’s Strawberry Hill and Beckford’s Fonthill, now covered Europe in new Gothic churches and cathedrals, not to mention some of its most important secular buildings such as the Palace of Westminster.
哥特式复兴表达了重建自我象征意义的感伤愿望。当然，随之而来的是宗教仪式的广泛复兴，这成为十九世纪欧洲的决定性特征之一。这反过来又伴随着“维多利亚”或“资产阶级”道德的出现，这种道德建立在严格的性和社会行为准则之上，“尊重”是其最高价值观之一。然而，在这一切之中，也存在着强烈的伤感感伤元素，以掩盖从性欲到死亡意识等一切事物的压抑。在很大程度上，这个时代的主导意识正在采用自我价值观作为一个角色，一个外在的面具。
The Gothic Revival expressed a sentimental desire to recreate the symbolism of the Self. It was accompanied, of course, by that widespread revival of religious observance which became one of the defining characteristics of nineteenth-century Europe. This in turn was coupled with the emergence of that ‘Victorian’ or ‘bourgeois’ morality, which rested on strict codes of sexual and social behaviour, with ‘respectability’ as one of its highest values. Yet in all this too there was a strong element of mawkish sentimentality, to cover up the repression of everything from sexuality to the awareness of death. To a great degree, the ruling consciousness of the age was adopting the values of the Self as a persona, an outward mask.
尽管有哥特式尖塔、彩色玻璃窗和对中世纪基督教意象的精心再现，但维多利亚时代的阴暗工厂在臭气熏天的贫民窟上空喷出臭烟，为受人尊敬的新富资产阶级创造财富，这几乎不是中产阶级的重生。年龄。令人好奇的是，过去三个世纪不断演变的精神意识如何与本章开头老子的段落模式相呼应。如果说中世纪基督教世界宗教世界形象的崩溃是“迷失道路”的时刻，那么十六、十七世纪宗教改革时期严厉的道德家们则用“美德”取而代之。在十八世纪理性的、非精神化的宗教中，这一点又被“仁慈”所取代。如今，在感伤的十九世纪，这已经让位于“正直”。如果这似乎是“线上线下”的统治者，那么没有什么地方比十九世纪讲故事的某些方式更能清楚地反映出它的影子了。
For all its Gothic spires, stained glass windows and loving recreations of mediaeval Christian imagery, the Victorian age, with its grim factories belching out stinking smoke over foetid slums to create wealth for the respectable new-rich bourgeoisie, was scarcely a rebirth of the Middle Ages. It is curious how the evolving spiritual consciousness of the previous three centuries had echoed the pattern of that passage from Lao Tsu at the head of this chapter. If the crumbling apart of the religious world-image of mediaeval Christendom had been the moment when ‘the way was lost’, then the stern moralists of the sixteenth and seventeenth century Reformation had replaced it with ‘virtue’. This in turn had been replaced in the religion of the rational, de-spiritualised eighteenth century by ‘benevolence’. Now, in the sentimental nineteenth century, this had given way to ‘rectitude’. And if this was what seemed to rule ‘above the line’, nowhere was its shadow more clearly reflected than in some of the ways in which the nineteenth century told stories.
与往常一样，讲故事能够告诉我们产生它的时代的内心生活，没有比它呈现阿尼玛的方式更清晰的关键了，阿尼玛体现了女性价值，最终体现了“灵魂”。十九世纪最接近传达自我价值观的文学形式是小说。但即使是在当时最伟大的小说中，例如托尔斯泰和陀思妥耶夫斯基的小说，更不用说狄更斯或乔治·艾略特的小说了，我们也常常能辨别出一丝多愁善感的痕迹。当托尔斯泰在《安娜·卡列尼娜》的结尾尝试时为了描述他的英雄莱文的宗教觉醒，与故事中女主人公的诅咒和毁灭形成鲜明对比，陀思妥耶夫斯基发现莱文新发现的信仰是如此不令人信服，以至于他形容为“遇到第一根钉子就会四分五裂”。 。然而，在《罪与罚》结尾处，小妓女索尼娅激发了拉斯柯尔尼科夫的宗教皈依，这几乎没有更多的说服力。陀思妥耶夫斯基几乎把他的救赎形象发展成一个相当瘦弱和苍白的阿尼玛幽灵，而且很能说明问题的是，当他谈到她如何改变了他的英雄的生活时，他在结束时暗示这实际上是另一个主题故事。
As always, there is no clearer key to what storytelling can tell us about the inner life of the age which produced it than the way in which it presents the anima, personifying the feminine value and ultimately the ‘soul’. The literary form which came closest to conveying the values of the Self in the nineteenth century was the novel; but even in the greatest novels of the time, such as those of Tolstoy and Dostoyevsky, let alone those of Dickens or George Eliot, we can often discern more than a hint of sentimentality. When Tolstoy tried at the end of Anna Karenina to describe the religious awakening of his hero Levin, in contrast to the damnation and destruction of the story’s heroine, it was Dostoyevsky who found Levin’s new-found faith so unconvincing that he described as likely to ‘rip apart on the first nail it encountered’. Yet carrying scarcely more conviction is the religious conversion inspired in Raskolnikov by the little prostitute Sonia at the end of Crime and Punishment. Dostoyevsky hardly develops his redeeming figure into more than a rather thin and pallid ghost of the anima, and it is telling that, when he comes to showing how she transformed his hero’s life, he leaves off by suggesting that this is really the subject for another story.
当原型向外投射到物质世界时，值得注意的是，故事讲述者为了传达他们的阿尼玛女主人公的神秘性，常常将她们变成女继承人。在早期，女主角的灵性就像在神话和民间故事中一样，通常只是通过让她成为“公主”来传达这一点。但现在，就像司汤达或巴尔扎克、尼古拉斯·尼克尔比或简·爱一样，她要么一开始就很富有，要么在故事的结尾继承了金钱，以象征她的价值。在女作家的故事中，贫穷但善良的女主人公常常会爱上一位阿尼姆斯英雄，他的神秘感因其社会地位较高而更加突出，例如简·爱笔下的罗切斯特先生或伊丽莎白·贝内特笔下的达西先生。
As the archetypes became projected outwards onto the material world, it is noticeable how often storytellers, to convey the numinosity of their anima-heroines, made them into heiresses. In earlier times, the numinosity of the heroine would often have been conveyed, as in myths and folk tales, simply by making her a ‘Princess’. But now, as in Stendhal or Balzac, Nicholas Nickleby or Jane Eyre, she is either rich to begin with, or she inherits money towards the end of the story, to symbolise her value. In stories written by female authors, the poor but virtuous heroine often falls in love with an animus-hero whose numinosity is heightened by the fact that he is of higher social standing, such as Jane Eyre’s Mr Rochester or Elizabeth Bennett’s Mr D’Arcy.
然而，作为十九世纪文明精神状态的揭示，更重要的是对“受迫害少女”形象的持续痴迷，即被困、被侵犯或垂死的女英雄，她在整个世纪中继续以多种面目出现。浪漫主义。我们在多尼采蒂的《拉美莫尔的露西娅》的疯狂场景中看到了她；从《弄臣》中被父亲刺伤的无辜吉尔达到《茶花女》中患肺痨病的维奥拉，威尔第的女主人公们不幸而命运多舛。普契尼的《患痨病的咪咪》和可怜的《蝴蝶夫人》。在浪漫芭蕾舞剧《吉赛尔》中，我们将她视为难以捉摸的阿尼玛，心碎而死。，并再次在《天鹅湖》中饰演被背叛和注定的天鹅女王奥黛特。我们在当时无数的小说中看到了她的身影，其中包括狄更斯的几部小说，尤其是《小内尔》（1841 年，小内尔在《老古玩店》中令人心碎的死亡引起了英国读者近乎歇斯底里的反应），以及赛克斯用棍棒打死南希的故事。在《雾都孤儿》中。
Much more significant as a revelation of the psychic state of nineteenth century civilisation, however, was that persistent obsession with the image of the ‘persecuted maiden’, the trapped, violated or dying heroine who continues to appear in so many guises throughout the age of Romanticism. We see her in the mad scene of Donizetti’s Lucia di Lammermoor; in that whole sequence of unhappy and fated Verdi heroines, from the innocent Gilda stabbed by her father in Rigoletto to the consumptive Viola in La Traviata; in Puccini’s consumptive Mimi and the piteous Madam Butterfly. In Romantic ballet we see her as the elusive anima, dying broken-hearted in Giselle, and again as the betrayed and doomed Swan Queen Odette in Swan Lake. We see her in countless novels of the time, including several by Dickens, notably in Little Nell, whose heart-tugging death in The Old Curiosity Shop provoked an almost hysterical reaction from Britain’s reading public in 1841, and in Sykes’s bludgeoning to death of Nancy in Oliver Twist.
1860 年代的英国兴起了一种当时被称为“感觉小说”的时尚：高度情节化的故事通过在报纸和杂志上连载而吸引了大批读者。这些故事中激发维多利亚时代公众幻想的，是他们对重婚和通奸等“自我侵犯”主题的利用。但在几乎所有 70 年前哥特式小说的继承者中，受虐待的阿尼玛扮演着核心角色。威尔基·柯林斯 (Wilkie Collins) 的《白衣女人》(The Woman in White)引领了时尚潮流（1860），故事开始于一位年轻女子在伦敦郊外的一条路上看似超自然的幽灵，事实证明，她被关进了精神病院，以防止她无意中发现邪恶男爵珀西·格莱德爵士的罪恶秘密。所有这些奇幻作品中最著名的是亨利·伍德夫人的《东林恩》（East Lynne ，1861）。她如此无情地将痛苦和侮辱加在她的女主人公身上，以至于伊莎贝尔夫人最终因她的私生女死亡的事故而惨遭毁容，她拼命在前夫家里寻找家庭教师的工作。她这样做只是为了与孩子们团聚，但这导致她不得不隐姓埋名地看着她的儿子，因为他死于一种致命的疾病（“死了，从来没有叫我母亲”），然后她自己也断气了。3
In Britain in the 1860s came the vogue for what came to be known at the time as the ‘sensation novel’: highly melodramatic tales which reached an enormous mass audience through their serialisation in newspapers and magazines. What titillated the fantasies of the Victorian public in these tales was their exploitation of such ‘Self-violating’ themes as bigamy and adultery. But a central role in almost all these successors to the Gothic novels of 70 years earlier was played by the maltreated anima. The fashion was set by Wilkie Collins’s The Woman in White (1860), which begins with the seemingly supernatural apparition on a road outside London of the young woman who, it turns out, has been incarcerated in a mental asylum to prevent her stumbling on the guilty secret of the evil baronet Sir Percy Glyde. The most famous of all these fantasy concoctions was East Lynne (1861) by Mrs Henry Wood. So relentlessly does she heap suffering and indignity on her heroine that Lady Isabel ends up hideously disfigured by the accident in which her illegitimate daughter has died, desperately seeking employment as a governess in the home of her ex-husband. She does this only to be reunited with her children, but it then leads to her having to watch incognito over her son as he dies of a fatal disease (‘dead, and never called me mother’), before she expires herself.3
在这一时期的末期，痛苦阿尼玛的一个特别引人注目的例子是哈代最喜欢的女主人公苔丝。最重要的是，这个故事向我们展示了为什么哈代的小说为一个时代的底面提供了这样一面揭示性的镜子，从表面上看，这个时代想象自己正在从以前所有原始的黑暗中走出来。我们看到一位作家，他的第一个故事表明他仍然能够在情感上坚持他成长的根深蒂固的乡村世界的简单性和确定性。但随后，随着社会解放的哈代本人变得越来越脱离那个世界，他的故事变得越来越黑暗，他们的男女主人公更加致命地受到无法找到合适的“另一半”的困扰，直到他结束时展示了他遭受的折磨阿尼玛她心烦意乱，被迫采取绝望的行动，这只会让她自己死在绞刑架上。
At the end of this period a particularly notable example of the suffering anima is Hardy’s favourite heroine, Tess. More than anything this story shows us why Hardy’s novels provide such a revealing mirror to the underside of an age which, on the surface, imagined itself to be emerging into the light from all the primitive darkness of former times. We see an author whose first stories had shown him still able to cling on sentimentally to the simplicities and certainties of the rooted rustic world in which he grew up. But then, as the socially emancipated Hardy himself became ever more detached from that world, his stories turn ever darker, their heroes and heroines ever more fatally plagued by an inability to find their right ‘other half’, until he ends by showing his tortured anima so distracted that she is driven to that desperate act which can only precipitate her own death on the gallows.
从这个意义上说，正如我们所看到的，哈代小说的进展反映了十九世纪西方文明中更普遍发生的事情。没有一部小说比《白鲸》更能有力地传达“黑暗反转”的感觉，它描绘了一位疯狂的英雄，周围环绕着来自世界各地的国际化船员，象征着人类，痴迷地寻找并摧毁神秘的白鲸，代表自然的力量：自我的活生生的形象。然而，梅尔维尔本人却如此坚定地陷入了浪漫主义的黑暗倒转之中，尽管他直觉地感觉到自己写了“一本邪恶的书”，但他感觉自己“像羔羊一样一尘不染”。
In this sense, as we saw, the progression of Hardy’s novels reflected something which was happening much more generally to western civilisation in the nineteenth century. No novel more powerfully conveyed the sense of the ‘dark inversion’ than Moby Dick, with its picture of a crazed hero, surrounded by a cosmopolitan crew from all over the world, symbolising mankind, obsessively seeking to find and destroy the mysterious White Whale which stood for the power of nature at one with itself: a living image of the Self. Yet so firmly was Melville himself in the grip of the Romantic dark inversion that, although he intuitively sensed that he had written ‘a wicked book’, he felt as ‘spotless as the lamb’.
这个时代精神崩溃的另一个症状是喜剧情节的奇怪命运，因为它分裂成两种完全不同的故事类型：一方面，启发了那个时代一些最严肃的小说，例如《战争与和平》和米德尔马奇；另一方面，如维也纳轻歌剧、巴黎闹剧或吉尔伯特和沙利文的“轻歌剧”，保留了其轻浮、难以置信的表面，而完全脱离了莎士比亚或莫扎特喜剧原型的严肃、冷静的核心。人类想象力的完整创造。
Another symptom of the psychic disintegration of the age was the curious fate of the Comedy plot, as it split into two quite separate types of story: on the one hand, inspiring some of the most serious novels of the age, such as War and Peace and Middlemarch; on the other, as in Viennese operetta, Parisian farce or the ‘light operas’ of Gilbert and Sullivan, retaining its frivolous, implausible surface, while losing touch altogether with that serious, unsentimental core which had made the comedies of Shakespeare or Mozart such archetypally complete creations of the human imagination.
十九世纪比之前的任何时代都更加具有两面性，在其令人尊敬的、物质上的成功、辉煌的创新的表面之下。在教堂建筑所表现出的虔诚背后，这是一个比以往任何时候都更加失去与自我接触的时代，而这种接触激发了真正的宗教意识：在这个时代，马修·阿诺德只能听到信仰“忧郁、漫长、退缩的咆哮”；在这个时代，马修·阿诺德只能听到信仰“忧郁、漫长、退缩的咆哮”；尼采可以自信地宣称“上帝死了”。达尔文的自然选择理论受到如此欢迎的一个更明显的根本原因是，它使整个进化过程显得客观和自我指涉，无需想象其背后有任何超验的力量或指导思想。
More than any age before it, beneath its gravely respectable, materially successful, brilliantly innovative surface, the nineteenth century was two-sided. Behind its church-building shows of piety, it was an age more than ever losing that contact with the Self which inspires a genuine religious sense: an age in which Matthew Arnold could only hear faith’s ‘melancholy, long, withdrawing roar’; in which Nietzche could confidently proclaim ‘God is dead’. One of the more obvious underlying reasons why Darwin won such a welcome for his theory of natural selection was that it made the whole evolutionary process seem impersonal and self-referential, without the need to imagine that behind it was any transcendent power or guiding mind.
宏伟的新市政建筑自豪地矗立在伟大的新兴工业城市的中心，展现出它们前所未有的财富，在它们背后，是绵延数英里的喷着气的工厂和臭气熏天的贫民窟，数以百万计的工人在那里过着贫困和疾病折磨的生活。在所有这些令人压抑的片面性投下的“线下”阴影中，一种新的“自我”愿景正在出现，投射到这些被剥夺的群众的潜在力量上。
Behind the grandiose new civic buildings which stood proudly at the centre of the great new industrial cities, expressing their unprecedented wealth, were those miles of belching factories and stinking slums, where millions of workers lived their lives wracked by poverty and disease. In the shadows cast ‘below the line’ by all this oppressive one-sidedness, a new vision of the ‘Self’ was emerging, projected onto the potential power of these dispossessed masses.
在卡尔·马克思以及他的社会主义者和革命者同胞们的心中，有这样一个梦想：有一天，他们可能会奋起反抗，以一个完美的新社会的名义，扫除“线上线下”所有腐败和特权的世界。世界上受压迫的人民可以为了一个无私的共同目标再次团结起来。他们正是利用那些在前几个时代找到了宗教表达的原型源泉，将整体的精神形象投射到物质世界上（就像从“辩证唯物主义”中出现的综合一样）。事实上，这些梦想家已经被一个故事的原型力量所占据，其情节设定在未来：一个尼克托洛的愿景，在未来的世纪中，
Into the minds of men such as Karl Marx and his fellow socialists and revolutionaries came the dream that they might one day rise up to sweep away all that corrupt and privileged world ‘above the line’, in the name of a perfect new society, in which the downtrodden peoples of the world could once again be united, in one selfless common purpose. Drawing on precisely those archetypal wellsprings which in previous ages had found religious expression, they projected that spiritual image of totality out onto the material world (as in the synthesis which would emerge from ‘dialectical materialism’). In fact these dreamers had become possessed by the archetypal power of a story, with its plot set in the future: a nyktomorphic vision which, in the century which lay ahead, was destined to become the single most influential legacy of nineteenth-century Romanticism.
2.“现代主义”的诞生：1890-1918
2. The birth of ‘modernism’: 1890–1918
讲故事的演变中最有趣的事件之一是 1890 年代的那一刻，当时三位英国讲故事的人几乎同时独立地构思出故事，挖掘出怪物的原型愿景。几个世纪以来，随着西方先进的自我意识逐渐失去了对生命的超自然维度的认识，古老传说和神话中的怪诞怪物已经消失在遥远的过去，只不过是历史的好奇心。但突然间，他们又出现了。HG 威尔斯 (HG Wells) 笔下的火星人，从舒适的资产阶级萨里乡村的一个坑里爬出来，皮肤粗糙，触手如皮革；布拉姆·斯托克 (Bram Stoker) 笔下的德古拉 (Dracula) 像蝙蝠一样爬过特兰西瓦尼亚城堡的墙壁，詹姆斯先生 (MR James) 的噩梦般的幽灵从书页中升起。比利牛斯山脉的旧书，
One of the more interesting episodes in the evolution of storytelling was that moment in the 1890s when, quite independently, three British storytellers almost simultaneously conceived stories which disinterred the archetypal vision of the monster. For centuries, as advancing Western ego-consciousness had gradually lost touch with the sense of a supernatural dimension to life, the grotesque monsters of the old legends and mythologies had faded into the distant past, as no more than historical curiosities. But all of a sudden they re-emerged. H. G. Wells’s Martians, heaving out of a pit in the cosy, bourgeois Surrey countryside with their leathery skin and tentacles, Bram Stoker’s Dracula, crawling like a bat across the wall of his Transylvanian castle, M. R. James’s nightmarish apparition rising out of the pages of an old book in the Pyrenees, created almost overnight that modern tradition of the nyktomorphic monster which was to become such a significant presence in the popular storytelling of the twentieth century.
就在这些可怕的创造物从其作者的无意识头脑中浮现出来的那些年里，西格蒙德·弗洛伊德正在维也纳创作他的代表作《梦的解析》（1900）。这本书最重要的是让二十世纪的人们认识到，对于我们大脑的无意识层面所发生的一切来说，我们的意识只是一个相对较小和脆弱的上层建筑；为了正确理解人性，我们必须认识到我们的思维和行为方式在很大程度上是由隐藏在我们意识背后的力量塑造的。
In the very years when these monstrous creations were emerging from the unconscious minds of their authors, Sigmund Freud was working in Vienna on his magnum opus The Interpretation of Dreams (1900). This was the book which more than anything else was to open the eyes of the twentieth century to the idea that our consciousness is only a relatively small and fragile superstructure to all that goes on in the unconscious levels of our brain; and that to understand human nature properly we must recognise how much of the way we think and behave is shaped by forces buried behind our conscious awareness.
詹姆斯的第一个恐怖故事、斯托克的《德古拉》和威尔斯的《世界大战》都被认为只是娱乐。但为什么在十九世纪的最后十年里，这些险恶的邪恶化身几乎同时出现在故事讲述者的幻想中呢？怪物的原型体现了人性最黑暗的一面。它对状态说了什么人类认为，这些可怕的幽灵以最怪诞的形式代表了人类自我的力量，应该在新世纪即将到来之际同时从集体无意识中出现？4
James’s first horror story, Stoker’s Dracula and Wells’s War of the Worlds were conceived merely as entertainments. But why in the last decade of the nineteenth century should these menacing embodiments of evil have floated up into the fantasies of storytellers all at much the same time? The archetype of the monster personifies the darkest side of human nature. What did it say about the state of mankind that these fearsome apparitions, representing the power of the human ego in its most grotesque form, should have simultaneously emerged from the collective unconscious just as the new century approached?4
值得注意的是，有多少特征首次出现在 1900 年左右，这些特征首次出现在 1900 年左右，这些特征使 20 世纪的文明不同于以往任何历史时期。 1880 年代内燃机出现，随后出现第一辆汽车；1901 年，马可尼跨越大西洋传输了第一个无线信号；1903 年莱特兄弟的飞行和第一架飞机；留声机和录制的音乐；第一部电影和电影的开端；第一座耸立在纽约和芝加哥天际线上的摩天大楼。1905年，年轻的爱因斯坦在苏黎世发表了公式 e = mc 2，预示着核时代的诞生，而核时代将在几十年内出现智人解锁了宇宙中最基本的物理单位的秘密力量。
It is remarkable just how many of the features which were to define twentieth-century civilisation as unlike any period in history before first appeared in the years around 1900. The most obvious are the dazzling array of technological discoveries which appeared at this time: the internal combustion engine in the 1880s followed by the first motor cars; the first wireless signals, with Marconi’s transmissions across the Atlantic in 1901; the Wright brothers’ flight in 1903 and the first aeroplanes; the gramophone and recorded music; the first moving pictures and the beginnings of the cinema; the first skyscrapers soaring above the skyline of New York and Chicago. In Zurich in 1905 the young Einstein published the formula e = mc2, heralding the birth of that nuclear age which within decades was to see homo sapiens unlocking the secret power of the most elemental physical unit in the universe.
几乎在同一时间，从新奥尔良和美国南部各州黑人社区的蓝调音乐和福音歌曲中出现，拉格泰姆音乐和爵士乐的催眠、幻想和激动人心的切分音引入了后来成为最流行的单曲。二十世纪流行音乐的决定性特征。新世纪初的妇女选举权运动预示了女性自信的新精神，这将导致两性关系的彻底调整。1902年列宁在俄罗斯发表了《那么必须做什么？这本小册子最重要的是阐述了他的革命蓝图，通过该蓝图，他计划从“线下”拯救俄罗斯，也许还有世界。
At much the same time, emerging from the blues and the gospel-singing of the black communities of New Orleans and the southern states of the USA, the hypnotic, fantasy-exciting syncopation of ragtime and jazz were introducing what was to become the single most defining feature of twentieth-century popular music. The campaign for women’s suffrage in the early years of the new century heralded the new spirit of female assertiveness which would lead to a radical realignment in the relationship between the sexes. In Russia in 1902 Lenin published What Then Must Be Done?, the pamphlet which more than anything else was to set out his blueprint for the revolution by which, from ‘below the line’, he planned to save Russia and perhaps the world.
此时的艺术正在经历一场变革，这反映了一个世纪前引发浪漫主义运动的精神转变的又一次决定性延伸。在绘画中，法国印象派（在特纳之后）的轻盈、转瞬即逝的意象几十年来一直在推动人们从十九世纪学院主义的沉重、感伤的形式中解放出来。但在新世纪初期，这些已经消失的具象图像突然被立体派、野兽派和未来派的更具戏剧性的抽象图像所取代。具象意象最终完全瓦解在暗示性尼克托变形的薄雾中。毕加索的《阿维尼翁少女》是这一演变过程中具有里程碑意义的画作之一，这一点很能说明问题。（1907），展示了一群妓女：这个主题对于任何“一线”的 19 世纪院士来说都是不可想象的，除非毕加索的同时代人可能会发现很难从支离破碎的新“立体主义”风格中解读出什么他的形象根本就是为了代表。
The arts at this time were going through a transformation which reflected another decisive extension of that psychic shift which had given rise to the Romantic movement a century earlier. In painting, the light, evanescent imagery of French Impressionism (in the wake of Turner) had for decades been promoting liberation from the heavy, sentimental formalities of nineteenth-century academicism. But in the early years of the new century these already dissolving figurative images suddenly gave way to the much more dramatically abstract pictures of the Cubists, Fauvists and Futurists. Figurative imagery was finally disintegrating altogether in a haze of suggestive nyktomorphs. It was telling that one of the landmark canvases in this evolution, Picasso’s Les Demoiselles D’Avignon (1907), showed a group of prostitutes: a subject which would have been unthinkable to any ‘above the line’ nineteenth-century academician, except that Picasso’s contemporaries might have found it hard to decipher from the fragmented new ‘Cubist’ style quite what his image was meant to represent at all.
在音乐方面，勃拉姆斯、布鲁克纳及其十九世纪末同时代人的沉闷、夸张的浪漫主义突然让位于以勋伯格、韦伯恩和伯格的赤裸裸的无调性实验为代表的革命性“新音乐”，令人紧张的令人兴奋的节奏和不和谐的多调性。斯特拉文斯基。
In music, the ponderous, overblown Romanticism of Brahms, Bruckner and their late nineteenth-century contemporaries suddenly gave way to the revolutionary ‘new music’ represented by the stark atonal experiments of Schoenberg, Webern and Berg, the nervously exciting rhythms and dissonant polytonalities of Stravinsky.
与此同时，在讲故事方面，没有哪个作家比契诃夫更能反映二十世纪情感的转变，他创造了一个新的暮色世界，在这个世界中，明亮的人物和黑暗之间明显的原型对比消失在灰色的暮色中。契诃夫的戏剧中，每个人都被困在自我的小监狱里，缺乏任何精神中心，人类的生活被描绘成只不过是青年时期的混乱无私的梦想，逐渐衰变成老年时以自我为中心的幻灭，这标志着契诃夫戏剧的开始这是一种新的讲故事类型，除了台下绝望的镜头，或者只是幕布落下，表明故事已经结束，没有任何解决方案，叙事可能没有结束。1904 年契诃夫去世三年后，普鲁斯特以自我陶醉的徒劳开始了这篇巨著，这篇文章直到 15 年后才完成，它代表了讲故事的心理中心从自我到自我的转变的一个新极端。但到那时，十九世纪进步时代的梦想已经变成现实，人类经历了有史以来最严重的暴力爆发。
Meanwhile in storytelling, no writer was to reflect the shift towards twentieth-century sensibility more significantly than Chekhov, with his creation of a new twilight world in which the clear archetypal contrast between light figures and dark dissolved into a grey twilight. Chekov’s plays, in which everyone was trapped in a little prison of the ego, lacking in any spiritual centre, where human life was portrayed as no more than the muddled, altruistic dreams of youth decaying into the egocentric disillusionments of old age, marked the beginning of that new genre of storytelling, where the narrative could have no end other than a despairing shot offstage, or merely a curtain coming down to indicate that the story was over, with nothing resolved. Three years after Chekhov’s death in 1904, Proust began that immense essay in self-absorbed futility which would only be finished 15 years later, and which was to represent a new extreme in the shift of the psychic centre of storytelling from the Self to the ego. But by that time the dream of the ninteenth-century age of progress had exploded into reality, with the greatest explosion of violence the human race had ever experienced.
在许多方面，我们可以将第一次世界大战的大屠杀视为对十九世纪欧洲文明不同形式的狂妄自大的一种审判。几十年来，西方国家一直在利用其新技术力量来开发更具破坏性的战争手段。但事实上，这些措施在 1914 年之前的近半个世纪里都没有得到认真部署，这意味着很少有人意识到，如果部署的话，后果将有多么可怕。民族主义自尊心的高涨，以及大国凭借技术优势在全球范围内进行的帝国主义冒险，造成了精神膨胀和集体利己主义之间的竞争感，这种感觉正在走向危险。观点。
In many ways it is possible to see the holocaust of the First World War as a kind of judgement on the different forms of hubris European civilisation had enjoyed in the nineteenth century. For decades the Western nations had been using their new technological might to develop ever more destructive means of waging war; but the very fact that these had not been deployed in earnest for nearly half a century before 1914 meant that few people realised how terrible might be the consequences if they were. The stoking up of nationalistic self-esteem, and the imperialist adventures in which the technological superiority of the great powers had allowed them to indulge around the globe, had produced a psychic inflation and a sense of rivalry between their collective egotisms which was tipping towards danger point.
在社会方面，在 1914 年之前的几年里，我们可以看到各种各样的压力在发展，这表明席卷整个欧洲的集体精神狂热的开始，表现在从新的大规模劳工运动的兴起、要求激进的政治变革到新的政治变革的方方面面。女性的自信。“线上”既定秩序到处都受到挑战。这同样反映在旧形式的瓦解和新的神经能量的释放上，这正在彻底改变艺术。没有什么艺术活动比斯特拉文斯基芭蕾舞剧《春之祭》的巴黎首演更能体现当时的情绪了1913 年，这部作品展示了一名年轻女孩疯狂的祭祀仪式，伴随着比观众以前听过的任何音乐都更加不和谐的音乐，从而引发了一场争议。
Socially in the years leading up to 1914 we can see all sorts of stresses developing which indicated the onset of a collective psychic fever sweeping through Europe, manifesting itself in everything from the rise of new mass labour movements, demanding radical political change, to the new assertiveness of women. Everywhere the ‘above the line’ established order was under challenge. And this was equally reflected in that disintegration of the old forms and unleashing of new nervous energy which was revolutionising the arts. No artistic event was more symptomatic of the mood of the time than the Paris première of Stravinsky’s ballet The Rite of Spring in 1913, which provoked a storm of controversy by showing the frenzied ritual sacrifice of a young girl, accompanied by music more wildly dissonant than anything its audience had heard before.
三年前，另一位音乐家、伟大的英国民族主义歌曲《希望与荣耀的土地》的作曲家爱德华·埃尔加带着不祥的预感写道：“我们像幽灵一样行走”。1914 年 8 月，大批欢呼的人群聚集在欧洲的首都，当时他们的国家正在梦游般地陷入战争。在索姆河上，在凡尔登和坦能堡，十九世纪的浪漫主义时代最终在四年噩梦般的屠杀中瓦解。伟大的帝国崩溃了。在俄罗斯，以列宁为首的马克思继承人冲进冬宫，宣布无产阶级专政。
Three years earlier, another musician, Edward Elgar, composer of that great nationalistic British anthem ‘Land of Hope And Glory’, had written with foreboding, ‘we walk like ghosts’. In August 1914 vast cheering crowds gathered in the capital cities of Europe, as their countries sleepwalked into war. On the Somme, at Verdun and Tannenburg, the nineteenth-century age of Romanticism finally disintegrated in four years of nightmarish slaughter. Great empires crumbled. In Russia the heirs of Marx, led by Lenin, stormed the Winter Palace to proclaim the Dictatorship of the Proletariat.
在经历了长达一个世纪的令人兴奋的进步梦想之后，洛基的精神却给人类带来了前所未有的灾难。
After all that heady, century-long dream of progress, the spirit of Loki had brought the human race to catastrophe on a scale it had never experienced.
3.美丽新世界：1918-1939
3. Brave New World: 1918–1939
当欧洲人民终于走出黑暗，步入和平的黯淡光明时，第一个在刚刚开始的时代的精神中脱颖而出的国家是美国。
As the peoples of Europe finally stumbled out of the darkness into the wan light of peace, the country which for the first time was to make the running in dictating the spirit of the era just beginning was America.
美国总统伍德罗·威尔逊带头建立了国际联盟：这是一项国际合作的理想主义实验，旨在确保“以战争结束战争”不再重演。随着新十年的开始，许多与其形象密不可分的现象都将起源于美国（尽管几乎在所有情况下，这些现象都是在战前首次出现在胚胎中）。
It was the US President Woodrow Wilson who took the lead in setting up the League of Nations: that idealistic experiment in international co-operation which was to ensure that ‘the war to end wars’ was never repeated. And as a new decade began it would be from America that so many of the phenomena which were to become inseparable with its image originated (even though, in almost every case, these had first appeared in embryo before the war).
“咆哮的二十年代”的主流情绪是解放能量的巨大爆发，这反映在斯科特·菲茨杰拉德“爵士时代”的所有神经质狂热和享乐主义唯物主义中。那是“时髦人士”和查尔斯顿的时代。华尔街空前的股票繁荣，数以百万计的普通民众第一次希望通过投资美国领先公司的股票致富；亨利·福特“T 型车”的鼎盛时期，数百万人第一次有能力购买汽车。在那个时代，1914 年之前的那些高耸的摩天大楼如今已将曼哈顿的天际线变成了世界上最令人印象深刻的熟悉图像之一。这是通过电影媒介讲故事的第一个鼎盛时期，使好莱坞成为世界大众娱乐中心，
The prevailing mood of the ‘Roaring Twenties’ was that of a great burst of liberated energy, reflected in all the nervous frenzy and hedonistic materialism of Scott Fitzgerald’s ‘Jazz Age’. It was the age of ‘flappers’ and the Charleston; of the unprecedented share boom on Wall Street, when millions of ordinary folk could for the first time hope to become rich by investing in the stocks of America’s leading companies; the heyday of Henry Ford’s ‘Model T’, when for the first time millions could afford to buy motor cars. It was the age when those soaring skyscrapers, pioneered in the years before 1914, now turned the Manhattan skyline into one of the most powerfully familiar images in the world. It was the first heyday of telling stories through the medium of the cinema, making Hollywood the world centre of mass-entertainment, peopling the fantasies of millions with the dream images of the first ‘movie stars’.
贯穿所有这些时代精神表现的主线是他们对一种新的自信的自我表达的认可，没有什么比那些纽约开发商在建造有史以来最高的建筑上相互竞争的竞争更明显的了。 ，在本世纪末的新帝国大厦中达到顶峰。与此同时，女性外貌也发生了根本性的转变，战前时期飘逸的长裙、精致的发型和遮阳伞突然被年轻时髦人士的露腿短裙、短发和炫耀的烟嘴所取代。爵士乐时代。历史上从未有过女性时尚发生如此巨大的突然变化。酋长，他被银幕放大为那个时代浪漫的万人迷。
The thread running through all these manifestations of the spirit of the age was their sanctioning of a newly assertive kind of self-expression, nowhere made more visible than in the rivalry of those New York developers to outvie each other in raising the tallest structures ever seen, culminating at the decade’s end in the New Empire State building. This was accompanied by a radical transformation in the appearance of women, as the long flowing dresses, elaborate hairstyles and parasols of pre-war times suddenly gave way to the leg-revealing short skirts, cropped hair and flaunted cigarette holders associated with the young flappers of the Jazz Age. Never in history had there been such a dramatically sudden change in women’s fashions. But the new ‘mannishness’ of their short hair and emancipated attitudes was matched by a corresponding ‘feminisation’ of their male counterparts such as Rudolf Valentino, whose rouged and powdered image aroused mass-hysteria when, in films like The Sheikh, he was magnified by the silver screen into the romantic heart-throb of the age.
与所有这些“大众个人主义”相反，20 年代还以乌托邦理想主义的非凡浪潮为标志，其基调是由启发国际联盟本身被认为是国际和平与兄弟情谊新时代的保证。1920年代中期，法国和德国政治家梦想联合起来建立一个新的“欧洲合众国”。在俄罗斯，经历了革命和内战的恐怖之后，列宁的布尔什维克开始着手创建一个世界前所未见的理想共产主义社会，其中所有压迫性的旧等级秩序都以“小父亲”为中心，沙皇被推翻了，所有公民现在都平等了。
In counterpoint to all this ‘mass-individualism’, the 1920s was also marked by an extraordinary wave of Utopian idealism, its tone set by that which inspired the League of Nations itself, as the supposed guarantee of a new age of international peace and brotherhood. In the mid-1920s, the statesmen of France and Germany dreamed of joining together to build a new ‘United States of Europe’. In Russia, after the horrors of revolution and civil war, Lenin’s Bolsheviks were setting out to create an ideal Communist society, of a kind the world had never seen before, in which all the oppressive old hierarchical order centred on the ‘Little Father’, the Czar, had been torn down, and where all its citizens would now be equal.
在巴黎，富有远见的建筑师勒·柯布西耶梦想着拆除所有古老的历史名城，从巴黎本身开始，代之以他的乌托邦新“未来之城”，规划到最微小的细节，其中巨大的、闪亮的白色混凝土摩天大楼矗立在草地和树木之中。几千年来，以宏伟的寺庙和大教堂为中心的城市一直是人类整体和自我的象征形象。勒·柯布西耶对他的“光芒四射的城市”的愿景是同一原型的投影，它布置在完美的四边几何网格上，周围环绕着树林和田野。但通过一个明显的反转，勒·柯布西耶城市的最终焦点不是其中心的宏伟大教堂，而是其中央交通“节点”；高速公路网的交汇处，其上方是主要火车站和中央机场。他的城市不是以大教堂尖顶和高祭坛为中心，象征着内心平静和与“一”结合的终极点，而是代表了外部噪音和不安的最大点。勒·柯布西耶痴迷于新型飞机、赛车、远洋客轮和其他当时的技术奇迹，他的梦想是他的新型城市本身就是带来一场革命的手段，因为它很快就会成型它的居民变成了一种新型的男人和女人，适合生活在“机器时代”。
In Paris the visionary architect Le Corbusier dreamed of tearing down all the old historic cities, starting with Paris itself, and replacing them with his Utopian new ‘City of the Future’, planned down to the tiniest detail, in which vast, shining white concrete skyscrapers would stand amid grass and trees. For millennia, centred on great temples and cathedrals, the city had been a symbolic image of human totality, the Self. Le Corbusier’s vision of his ‘radiant city’, laid out on a perfect four-sided geometric grid, surrounded by woods and fields, was a projection of the same archetype. But by a telling inversion, instead of having a mighty cathedral at its heart, the ultimate focal point of Le Corbusier’s city was its central transport ‘node’; the intersection of its grid of motorways, with above them its main railway station and central airport. Instead of his city being centred on a cathedral spire and high altar, symbolising some ultimate point of inner peace and union with the ‘One’, its centre represented the point of maximum external noise and restlessness. Obsessed as he was with the new aeroplanes, racing cars, ocean liners and other technological wonders of the age, Le Corbusier’s dream was that his new type of city would in itself be the means to bring about a revolution, in that it would soon mould its inhabitants into a new type of man and woman, fit to live in ‘the age of the machine’.
20 年代发生的事情是，随着技术创新创造了一种感觉，即社会正在进入一个不同于以往任何已知时代的时代，几个世纪以来一直控制着人类自我力量的社会和道德约束的传统框架支票开始以前所未有的方式崩溃。自我正在被解放。与此同时，在集体主义乌托邦主义的高涨中，被取代的自我原型的力量被向外投射，在人类团结在一起的梦想中，在无私整体的不同愿景中。
What was happening in the 1920s was that, as technological innovations created the sense that society was being carried forward into an era different from anything known before, that traditional framework of social and moral constraints which for centuries had held the power of the human ego in check was beginning to crumble as never before. The ego was being liberated. At the same time, in the upsurge of collectivist Utopianism, the power of the displaced archetype of the Self was being projected outwards, in dreams of humanity being brought together as one, in different visions of selfless totality.
所有这些都反映在这十年的故事讲述中。从表面上看，没有什么比斯科特·菲茨杰拉德的小说更能体现席卷美国新富阶层的年轻享乐主义情绪了。在英国，与之对应的是伊芙琳·沃（Evelyn Waugh）的小说，歌颂上流社会“聪明的年轻人”的脆弱闲聊，以及年轻的诺埃尔·考沃德（Noel Coward）的“大胆”戏剧，例如《漩涡》，其主人公是一位通奸母亲吸毒成瘾的儿子。在意大利，皮兰德娄似乎正在引领戏剧进入更加“实验”的领域，并承诺具有巨大的夜行意义。没有比乔伊斯的《尤利西斯》和劳伦斯的《查泰莱夫人》这十年最大胆的两部小说更著名的性革命宣言，它摆脱了“维多利亚道德”的拘谨束缚，它们是如此的不羁，以至于当局急忙镇压它们。这本身只会加剧给人的印象是，这些书一定是对生命、“诚实”和未来的勇敢一击，反对现在看来已经过时的专制主义和性压抑的死气沉沉的大厦。
All this was reflected in the decade’s storytelling. On the face of it, nothing seemed to capture the mood of youthful hedonism that was sweeping through new-rich America better than the novels of Scott Fitzgerald. In Britain their counterparts were the novels of Evelyn Waugh, celebrating the brittle chatter of the upper-class ‘bright young things’, and the ‘daring’ plays of the young Noel Coward, such as The Vortex, with its hero the drug-addicted son of an adulterous mother. In Italy Pirandello seemed to be pioneering the advance of the drama into even more ‘experimental’ realms, promising some immense nyktomorphic significance. And there were no more celebrated manifestos of the sexual revolution, throwing off the prudish inhibitions of ‘Victorian morality’, than those two most daring novels of the decade, Joyce’s Ulysses and Lawrence’s Lady Chatterley, so uninhibited that the authorities rushed to suppress them. This in itself only heightened the impression that these books must be striking a brave blow for life, ‘honesty’ and the future against all that deadening edifice of authoritarianism and sexual repression which now seemed outmoded.
也许用不了多久，我们就能看出所有这些虚构的兴奋背后的黑暗面。菲茨杰拉德笔下的盖茨比是一位神秘的百万富翁，经常举办派对，他的豪宅里经常挤满了时尚的社交名流，但他却是一个迷失的灵魂，生活在一个精心塑造的角色后面，最后在自己的游泳池里被子弹打得千疮百孔。皮兰德娄的《六个角色》在巧妙的框架结构背后，虚构的人物接管了他们自己的故事，事实证明，这只不过是一个令人沮丧的小幻想，一个父亲遇见了他作为妓女的女儿，最后以一场耸人听闻的戏法结束。导致两个孩子暴力死亡的结论。尤利西斯这部被誉为后弗洛伊德性解放圣经的书，最终以两个情感上不足的中心人物进行了孤独的自虐行为。《查泰莱夫人》被誉为对解放更为英雄的呼吁，以两个性格各异的中心人物分开而孤独结束，纸板上的英雄悲伤地幻想着一场失去的性冒险，他令人陶醉的肉体快乐早已褪色，并毁掉了他们的性爱冒险。生活。
It might not have taken long to discern the dark underside of all this fictional excitement. Fitzgerald’s Gatsby, the mysterious millionaire party-giver, his grand house constantly filled with fashionable socialites, turns out to be a lost soul, living behind a carefully concocted persona and ending up riddled with bullets in his own swimming pool. Pirandello’s Six Characters, behind the artifice of its framing device, with fictional characters taking over their own story, turns out to centre on no more than a dismal little fantasy of a father meeting his daughter as a prostitute, winding up with the trick-sensational conclusion of having the two children come to violent deaths. Ulysses, hailed as the bible of post-Freudian sexual liberation, ends up with its two emotionally-inadequate central figures engaging in solitary acts of self-abuse. Lady Chatterley, acclaimed as an even more heroic call to liberation, ends with its two ill-assorted central figures apart and alone, with its pasteboard hero fantasising sadly over a lost sexual adventure whose heady physical pleasures have long faded and which has ruined both their lives.
劳伦斯本人经常对别人的工作比他自己的工作更精明，他对前面引用的 1920 年代精神做出了尖锐的判断，这并非没有原因：
Not for nothing did Lawrence himself, often shrewder about the work of others than his own, issue that trenchant verdict on the spirit of the 1920s quoted earlier:
“从来没有哪个时代比我们这个时代更感伤、更缺乏真实的感觉、更夸大虚假的感觉……广播和电影始终只是虚假的情感，现在的新闻和文学也是如此。人们沉溺于情感，伪造情感。他们欣然接受，生活在其中……有时他们似乎相处得很好。然后，他们越来越崩溃。他们四分五裂。5
‘Never was any age more sentimental, more devoid of real feeling, more exaggerated in false feeling than our own ... the radio and the film are mere counterfeit emotion all the time, the current press and literature the same. People wallow in emotion, counterfeit emotion. They lap it up, they live in it and on it ... and at times they seem to get on very well with it all. And then, more and more, they break down. They go to pieces.’5
至于那些对 20 年代如此着迷的未来集体主义乌托邦，已经有讲故事的人指出这些梦想也可能会导致噩梦。弗里茨·朗的电影《大都会》（1926）展示了一种类似勒·柯布西耶的未来城市，充满了巨大的混凝土建筑，飞机在它们之间飞翔：只不过他将其描绘成一个非人性化的奴隶国家，有着密集的受管制工人军队在“线下”地下世界的机器上不断地辛勤劳作，为统治这个地狱般的新社会的“线上”精英服务。六年后，奥尔德斯·赫胥黎在《美丽新世界》中对 1920 年代做出了自己的判断，将那些年的痴迷享乐主义推断为未来世界国家的基础。在这里，又是在一座勒·柯布西耶式的城市里，巨大的建筑掩映在树林中，阿尔法们被毒品束缚着，不断盲目地追求混杂的自我放纵。这又是由 Beta、Gamma、Delta 和 Epsilon 组成的受管制的奴隶军实现的“线下”。最重要的是，赫胥黎噩梦世界的真正统治者，那些微小的、影子般的精英，努力确保任何人都不会发展出个人的思想或感情，因为让每个人不假思索地与集体意识保持一致，是社会的基本原则。这个极权国家赖以生存的地方。
As for those collectivist Utopias of the future which held such a fascination for the 1920s, there were already storytellers pointing out how these dreams too might lead to nightmares. Fritz Lang’s film Metropolis (1926) showed a kind of Le Corbusier-like city of the future, full of colossal concrete buildings with aeroplanes flying between them: except that he portrayed it as a dehumanised slave-state, with serried armies of regimented workers having to toil ceaselessly at machines in a ‘below the line’ underworld, to serve the ‘above the line’ elite who ruled this hellish new society. Six years later Aldous Huxley delivered his own verdict on the 1920s in Brave New World, extrapolating the obsessive hedonism of those years into the basis for a future World State. Here, again in a Le Corbusier-like city of immense buildings set amid trees, the Alphas were kept by drugs in constant mindless pursuit of promiscuous self-indulgence. Again this was made possible by regimented slave-armies of Betas, Gammas, Deltas and Epsilons ‘below the line’. Above them all, the tiny, shadowy elite who were the real rulers of Huxley’s nightmare world strove to ensure that no one should ever develop individual thoughts or feelings, because for everyone to be kept unthinkingly at one with the collective consciousness was the fundamental principle on which this totalitarian state rested.
事实上，当赫胥黎的书出版时，激发其灵感的1920年代的梦想阶段已经戛然而止。1929 年 11 月，华尔街崩盘预示着历史上最严重的经济衰退，整个西方世界有数千万人失业。在大萧条的阴霾中，菲茨杰拉德努力完成他最后一部完整的小说《夜色温柔》，反映了他自己 20 年代的欣快感如何恶化为梦想失败和酒精抑郁症的噩梦。与此同时，在俄罗斯和德国，两个真正的极权主义体系正在兴起，每个体系都以自己的方式比赫胥黎所设想的任何体系都更加黑暗，并且在未来的岁月里，它们将给全人类投下阴影。
In fact, by the time Huxley’s book was published, the Dream Stage of the 1920s which inspired it had already come abruptly to an end. In November 1929 the Wall Street crash heralded the greatest economic slump in history, with tens of millions unemployed all across the Western world. Amid the gloom of the Great Depression, Fitzgerald laboured at his last complete novel, Tender is the Night, reflecting how his own 1920s euphoria had soured into a nightmare of failed dreams and alcoholic depression. Meanwhile in Russia and Germany two genuinely totalitarian systems were now in the ascendant, each in its own way darker than anything Huxley had conceived of, and which, in the years ahead, were to cast a shadow extending over the whole of mankind.
正如我们所看到的，1917 年接管俄罗斯的共产主义乌托邦梦想是集体幻想的最极端表达，这种幻想在 19 世纪马克思和其他早期社会主义者的头脑中开始出现，以回应大众工业化的片面性。他们被受压迫的无产阶级从“线下”崛起的愿景所吸引，扫除所有压迫性的旧政治和社会结构，建立一个人人平等的完美社会。这种幻象的催眠吸引力恰恰源于它无意识地利用自我原型力量的程度。声称要为全人类的利益行事，
The dream of a Communist Utopia which took over Russia in 1917, as we have seen, was the most extreme expression of that collective fantasy which had begun to emerge in the minds of Marx and other early Socialists in the nineteenth century, in response to the one-sidedness of mass-industrialisation. They became gripped by the vision of the downtrodden proletariat rising up from ‘below the line’ to sweep away all the oppressive old political and social structure, to build a perfect society in which everyone could be equal. The hypnotic appeal of this vision derived precisely from the extent to which it unconsciously drew on the power of the archetype of the Self. In claiming to act in the interests of all mankind, it tapped into that sense of moral righteousness which could be generated around the dream of building a community which transcended selfish interests, when in fact it was only expressing the collective egotism of a particular group.
每一个群体幻想——比如共产主义——都取决于三个因素。第一个是特定的梦想或虚构的集体行为，它将其追随者联系在一起。第二个是它需要“梦想英雄”，他们被夸大到超人的高度，因为他们体现并充当了幻想的投射。第三，在加强那些陷入幻想的人的集体认同感方面发挥着至关重要的作用，正如陀思妥耶夫斯基在《群魔》中所描绘的那样，正如奥威尔后来在《十九八十四》中所展现的那样，是对“敌人”和“仇恨人物”的需要：那些幻想之外的人，他们可以对他们产生侵略感。尽可能黑暗和消极地讽刺“敌人”，对于帮助幻想中的人以英雄、理想化的眼光看待自己的角色起着关键作用。
Every group-fantasy – such as Communism – depends on three factors. The first is the particular dream or collective act of make-believe which binds its followers together. The second is its need for ‘dream heroes’ who are inflated to superhuman stature because they embody and act as projections of the fantasy. The third, playing a crucial role in reinforcing the sense of collective identity of those caught up in the fantasy, as Dostoyevsky portrayed in The Possessed and as Orwell was later to show in Nineteen Eighty Four, is the need for ‘enemies’ and ‘hate-figures’: those outside the fantasy against whom they can work up feelings of aggression. Caricaturing the ‘enemies’ as darkly and negatively as possible plays a key part in helping those within the fantasy to see their own role in a heroic, idealised light.
对于俄罗斯来说，1917 年之后的岁月里，梦想是“建设社会主义”，最终实现完美的共产主义国家。马克思和列宁是第一批“梦想英雄”，其标志性形象很快在俄罗斯各地传播，斯大林在 20 年代中期加入了这一行列。必要的仇恨人物是所有那些需要铲除和镇压的“革命敌人”，从俄罗斯内战中被击败的声名狼藉的社会秩序的残余到俄罗斯内战中的“破坏者”、“破坏者”和“反动派”。接下来的几年将提供无限的供应。
For Russia, in the years after 1917, the dream was to ‘construct Socialism’, leading ultimately to the achievement of the perfect Communist state. The first ‘dream heroes’ whose iconic images were soon to proliferate all over Russia were Marx and Lenin, joined in the mid-1920s by Stalin. The necessary hate-figures were all those ‘enemies of the revolution’ who needed to be rooted out and crushed, from the remnants of the discredited social order defeated in Russia’s Civil War to the ‘wreckers’, ‘saboteurs’ and ‘reactionaries’ of whom the years which followed would provide a limitless supply.
共产主义的一个显着特征是，它摧毁了俄罗斯以宗教认可的独裁统治为中心的旧社会秩序，并以讽刺的方式取而代之。取代沙皇的绝对统治的是共产主义独裁者列宁和斯大林的绝对统治。取代旧贵族的是新的统治精英“党”。为俄罗斯人民提供了对世界的解释和他们赖以生存的信仰的基督教正统观念被新的马克思列宁主义正统观念所取代，它试图做同样的事情。
A striking feature of Communism was the speed at which, having torn down Russia’s old social order, centred on a religiously-sanctioned autarchy, it replaced it with a caricature of what it had destroyed. In place of the absolute rule of the Czar came the absolute rule of the Communist dictators, Lenin and Stalin. In place of the old aristocracy emerged the new ruling elite of ‘the Party’. In place of that Christian Orthodoxy which had provided the people of Russia with an explanation for the world and the faith they should live by came the new Marxist-Leninist orthodoxy, seeking to do precisely the same.
最初，共产主义是一种底层的“左翼幻想”，与二十世纪初的所有“进步”倾向相关，从前卫绘画和建筑中的“现代主义”到对“自由爱情”的信仰。几年之内，新苏联正式恢复了对婚姻和家庭作为共产主义社会基石的信仰。它向艺术家和作家强加了严格的“社会主义现实主义”教条，他们唯一的职责就是制作电影、小说、戏剧、绘画、雕像、建筑和音乐作品，以粗俗感伤的方式设计，以歌颂社会主义的荣耀。共产主义和无产阶级的英雄业绩。
Initially Communism had been a below-the-line, ‘left-wing fantasy’, associated with all the ‘progressive’ tendencies of the early twentieth century, from avantgarde painting and ‘modernism’ in architecture to a belief in ‘free love’. Within a few years the new Soviet Union had officially reinstated a belief in marriage and the family as a keystone of Communist society. It had imposed on its artists and writers the rigid doctrines of ‘Socialist Realism’, whereby their only duty was to produce films, novels, plays, paintings, statues, buildings and musical compositions designed, in crudely sentimental fashion, to extol the glories of Communism and the heroic achievements of the proletariat.
与任何幻想一样，苏联共产主义建立在一种无法解决现实的期望状态之上。因此，它需要不断地被灌输关于即将到来的辉煌成就的新承诺，以及为什么迄今为止未能兑现其先前承诺的新借口。1920年代末，斯大林公布了他的第一个“五年计划”，提出了一个乌托邦，当他将苏联的农业收归国有并完成他将落后的国家拖入现代化时代的远见计划时，这个乌托邦就会到来。英雄的工业主义。第一类被妖魔化为实现这一目标的障碍的“敌人”和“破坏者”是富农：所有那些拥有小块土地、仍然坚信私有制的农民。数百万人要么被直接杀害，要么死于大饥荒，因为从他们手中没收的土地无法生产粮食。1930年代末，斯大林因未能实现共产主义乌托邦而感到沮丧，他将责任归咎于自己的追随者，数百万红军党员和军官要么被枪杀，要么被驱逐出境，在奴隶营里慢慢死去。西伯利亚。
As with any fantasy, Soviet Communism was based on building up a state of expectation which was unable to resolve with reality. It therefore needed constantly to be fed with new promises of glorious achievements to come, along with new excuses as to why it had so far failed to deliver on its earlier promises. At the end of the 1920s, Stalin unveiled the first of his ‘Five Year Plans’, holding out the Utopia which would arrive when he had taken the Soviet Union’s agriculture into state ownership and completed his visionary programme for dragging his backward country into the age of heroic industrialism. The first class of ‘enemies’ and ‘wreckers’ who were demonised as obstacles to achieving this were the kulaks: all those peasants with their little plots of land who still clung onto a belief in private property. Millions were either murdered directly, or died in the mass famine which followed when the land confiscated from them failed to produce food. In the late 1930s, frustrated by his continuing failure to achieve the Communist Utopia, Stalin switched the blame onto his own followers, as millions of Party members and officers of the Red Army were either shot or deported to die more slowly in the slave camps of Siberia.
一种群体幻想的感染常常有助于引发另一种群体的幻想。此时，一种新的群体幻想已经占领了德国，部分是为了响应共产主义思想在欧洲的传播：其恶毒很快就会对整个欧洲大陆构成威胁。
The infection of one group-fantasy often helps to set off another. By this time, partly in response to the spread of Communist ideas across Europe, a new group-fantasy had taken possession of Germany: the virulence of which would before long pose a threat to the entire continent.
我们之前追溯了希特勒作为纳粹领导人的职业生涯是如何遵循五阶段幻想模式的。期待阶段一直持续到他1933年上台，从此他进入了梦想阶段，一切似乎都奇迹般地朝着他的方向发展。他对德国的控制的关键在于，他成功地将其追随者的自我集体化，背后的自我原型的特殊投射与德国民族性相一致。通过利用为德国人民提供集体认同感的情感核心的原型元素，希特勒将它们焊接在一起成为一个整体，服从他的意志：尤其是通过巧妙地使用准宗教图像，从纳粹标志到“光明大教堂”，这是施佩尔在纽伦堡集会舞台管理中的杰作。
We traced earlier how Hitler’s career as Nazi leader followed the five-stage fantasy pattern. The Anticipation Stage lasted through his rise to power in 1933. From then onwards he entered the Dream Stage in which everything seemed to be miraculously going his way. The key to the hold he exercised over Germany was the way he managed to collectivise the egos of his followers behind that particular projection of the Self archetype which was identified with German nationhood. By playing on the archetypal elements which provided the German people with the emotional core of their collective sense of identity, Hitler welded them into a single totality, obedient to his will: not least through the skilful use of quasi-religious imagery, from the swastika symbol to that ‘cathedral of light’ which was Speer’s masterpiece in stage-managing the Nuremberg rallies.
与共产主义一样，纳粹主义也依赖于任何群体幻想所表现出的这三个因素。将其追随者团结在一起的集体虚构行为是德国从战后耻辱中重生的梦想，成为一个有能力征服世界的“优等民族”的“祖国”。它的至高无上的“梦想英雄”是令人着迷的、超人的元首本人。最初，共产党人和犹太人扮演了助长其侵略所需的“仇恨人物”的角色，然后是来自德国以外敢于阻止其前进的任何“小人物”。
Like Communism, Nazism was dependent on those same three factors displayed by any group-fantasy. The collective act of make-believe which bound its followers together was the dream of Germany reborn from its post-war humiliations, as the ‘Fatherland’ of a ‘master race’ equipped to take on the world. Its supreme ‘dream hero’ was the spell-binding, superhuman Fuehrer himself. The role of the ‘hate-figures’ needed to fuel its aggression was played, initially, by the Communists and the Jews, then by any ‘lesser breeds’ from outside Germany who dared stand in its way.
如果说共产主义一开始是一种“左翼”幻想，其诉求集中于提高被压迫者的地位并建立一个无阶级的、国际主义的新世界秩序，那么纳粹主义，就像法西斯主义一样，更明显是一种“右翼”幻想，以民族主义为中心、种族优越感和过去的神话，以及权力和力量、纪律和秩序的男性价值观。但没过多久，共产主义就证明，在其对弱者的无私关怀的表面表现背后，其真正的驱动力与右翼“对立面”一样，是对权力和秩序的痴迷。同样，纳粹主义假装拥有关爱的“女性”价值观，对“仁慈和库切”、“雅利安女性”和金发蓝眼儿童的角色进行了无情的感伤。
If Communism had begun as a ‘left-wing’ fantasy, centring its appeal on raising up the oppressed and building a classless, internationalist new world order, Nazism, like Fascism, was more obviously a ‘right-wing’ fantasy, centred on nationalism, racial superiority and myths from the past, and the masculine values of power and strength, discipline and order. But it had not taken long for Communism to demonstrate that, behind its outward show of altruistic concern for the underdog, it was really driven just as much by an obsession with power and order as its right-wing ‘opposites’. Similarly Nazism pretended to have the caring ‘feminine’ values, in its relentless sentimentalisation of kinder und kuche, the role of ‘Aryan womanhood’ and blond, blue-eyed children.
对于这两种意识形态来说，他们自我表达的最高方式是展示壮观的战争机器和整齐排列的身穿制服的士兵以机械精确的方式行进，以展示对“梦想英雄”领袖的完全服从。基于自我的“黑暗倒置”，共产主义和纳粹主义同样是极权主义，试图控制每个公民的内心生活和集体生活的各个方面。不可避免的是，两人都是顽固的无神论者，将宗教视为他们所鄙视和憎恨的“对立面”。
For both ideologies, their supreme mode of self-expression was staging spectacular displays of war machines and serried ranks of uniformed men marching with mechanical precision, to demonstrate total obedience to the ‘dream hero’ leader. Based on a ‘dark inversion’ of the Self, Communism and Nazism were equally totalitarian, seeking to control the inner life of each individual citizen and every aspect of collective life. Inevitably both were implacably atheistic, seeing religion as their despised and hated ‘opposite’.
正如任何想要生存的幻想都必须提高其要求一样，20世纪30年代希特勒最明显的特征就是他需要不断扩大自己的权力：首先在德国境内建立武装力量，然后，作为掠夺者，通过夺取一个又一个邻国。
Just as any fantasy to stay in being must step up its demands, so the most obvious characteristic of Hitler in the 1930s was his need constantly to expand his power: firstly by building up his armed might within Germany itself, then, as Predator, by seizing one neighbouring country after another.
在集体利己主义的巨大投射所投下的迅速拉长的阴影中，20世纪30年代末的欧洲其他国家显得软弱、无力和无能为力。他们善意的领导人似乎陷入了瘫痪，无法唤起任何“男性”性格的力量来回应。整个西方世界在慢慢摆脱大萧条的创伤后，开始全神贯注于恢复繁荣的物质享受。
In the fast-lengthening shadow cast by this colossal projection of collective egotism, the other nations of Europe in the late 1930s seemed weak, effete and powerless. Their well-meaning leaders seemed paralysed, unable to summon up any ‘masculine’ strength of character in response. The Western world in general, as it slowly emerged from the trauma of the Great Depression, had become preoccupied with the material pleasures of returning prosperity.
在电影院中，它在弗雷德·阿斯泰尔 (Fred Astaire) 和巴斯比·伯克利 (Busby Berkeley) 音乐剧的甜蜜逃避现实中得到了庇护，到 1939 年，它出现在有史以来最成功的两部逃避现实电影中，每部电影都以女性角色为中心。《乱世佳人》以美丽的女主人公夹在两个因相反的原因而能力不足的男人之间为中心，将观众带回了美国内战前南方各州贵族浪漫失落的世界，并以绝望的伪小说结尾。迷失和饱受折磨的女主人公乐观地宣称“明天就是”另一天'。以童星朱迪·加兰为中心的《绿野仙踪》把他们带到了婴儿期的彩色奇幻世界芒奇金之地、黄砖路和一个“聪明的老人”，结果却是一个愚蠢的老骗子，伴随着《彩虹之上的某个地方》同样感伤的伪乐观主义。
In the cinema, it took refuge in the sugary escapism of Fred Astaire and Busby Berkeley musicals, and by 1939 in two of the most successful escapist movies of all time, each centred on a female character. Gone with the Wind, centred on a beautiful heroine caught between two men who, for opposing reasons, were both inadequate, carried audiences back to the romantic lost world of the Southern States aristocracy before the American Civil War, and ended on the despairing pseudo-optimism of its lost and battered heroine proclaiming ‘tomorrow is another day’. The Wizard of Oz, centred on the child-star Judy Garland, carried them off to the infantile Technicolor-fantasy world of Munchkin-land, the Yellow Brick Road and a ‘wise old man’ who turned out to be a silly old fraud, accompanied by the equally sentimental pseudo-optimism of ‘Somewhere, over the rainbow’.
面对西方文明有史以来最严重的威胁，爱好和平的民主国家似乎变得软弱了。接下来发生的事情带来了过去 200 年来最大的心理逆转。
Confronted by the gravest threat Western civilisation had ever faced, the peace-loving democracies, it seemed, had gone soft. What happened next was to provide the greatest psychological reversal of the past 200 years.
4. 自我的重新出现：1940-1955
4. The re-emergence of the Self: 1940–1955
1939 年 9 月 3 日，内维尔·张伯伦 (Neville Chamberlain) 向他的同胞们通报英国“现在正在与德国交战”时，他的声音微弱、挫败，而他的男性言辞则体现了随之而来的心理转变，这两者之间的对比可以衡量随之而来的心理转变。九个月的时间里，温斯顿·丘吉尔将激励他们做出历史上任何民族所表现出的最伟大的民族反抗行为之一。
A measure of the psychic shift which was to follow was the contrast between the thin, defeated voice in which Neville Chamberlain informed his fellow-countrymen on 3 September 1939 that Britain was ‘now at war with Germany’ and the masculine rhetoric in which, within nine months, Winston Churchill would be inspiring them to one of the greatest acts of national defiance shown by any people in history.
1939 年 8 月 24 日，欧洲两大极权主义强国在纳粹-苏联条约中联手，瓜分波兰。一周后，英国和法国终于承认他们无法再安抚希特勒。六个月的“假战争”预期阶段就这样开始了，军队沿着西部战线集结，准备迎接现在看来不可避免的巨大冲突。5月10日，希特勒闪电占领丹麦和挪威后，又对荷兰、比利时和法国发动闪电战。在伦敦，名誉扫地的张伯伦让位给了未来五年领导国家的伟人。那年夏天，英格兰南部的天空为不列颠之战提供了舞台，而在 1940 年秋冬，希特勒对伦敦和其他城市发动了闪电战，
On 24 August 1939 the two great totalitarian powers of Europe had joined forces in the Nazi-Soviet pact, to divide up Poland. A week later, Britain and France finally accepted that they could appease Hitler no longer. Thus began the six months Anticipation Stage of the ‘phoney war’, as armies massed along the Western front for the immense conflict which now seemed inevitable. On 10 May, following his lightning seizure of Denmark and Norway, Hitler launched his blitzkrieg on Holland, Belgium and France. In London the discredited Chamberlain gave way to the towering figure who was to lead his country through the next five years. That summer, as the skies of southern England provided the stage for the Battle of Britain, giving way in the autumn and winter of 1940 to Hitler’s blitz on London and other cities, Churchill’s rock-like presence focused his countrymen’s resolve with a manly strength they had not known in their leaders for decades.
英国生活中普遍存在的模式正以惊人的速度发生着变化。当时的英雄是英勇的英国皇家空军年轻飞行员。皇家海军的水手们取得了像战胜袖珍战列舰施佩伯爵这样令人眼花缭乱的胜利，已经鼓舞了整个国家的士气；那些在敦刻尔克将失败转化为道德胜利的“小船”的部队和船员。
The prevailing archetype in British life changed with startling speed. The heroes of the hour were the gallant young pilots of the RAF; the sailors of the Royal Navy who had already raised the spirits of the nation by pulling off such dazzling victories as that over the pocket-battleship Graf Spee; the troops and the crews of the ‘little ships’ who turned defeat into moral victory at Dunkirk.
用典型的术语来说，这些新的民族英雄所代表的是“光明的男性气质”：力量和勇敢通过事实得到积极体现，就像丘吉尔本人不屈不挠的意志一样，它们被无私地运用。但这背后是整个国家的精神，为了共同的事业而团结在一起，展示了“闪电战精神”，并决心无论发生什么，都会抵御黑暗势力的袭击，直到确保最终胜利。
In archetypal terms what these new national heroes represented was the ‘light masculine’: strength and bravery made positive by the fact that, like the indomitable will of Churchill himself, it was being exercised selflessly. But behind this was the spirit of a whole nation, welded together in common cause, showing ‘the spirit of the Blitz’ and determined that, come what may, it would stand up to this assault by the forces of darkness until final victory was assured.
现在在英国生活中发挥作用的真正原型是自我：让每个人在黑暗力量与光明力量之间的宇宙战斗中发挥作用。男性再次获得解放，可以扮演完全男性化的角色。女性可以再次变得女性化，勇敢地代表那些现在冒着巨大风险的心灵和灵魂的价值观。每个人都被新发现的民族精神所吸引。国王和王后从被炸弹损坏的白金汉宫出发，冒险游览伦敦东区被轰炸的贫民窟，下到一个聚集在古老教堂或“红克莱德”造船厂周围的乡村，英国人民以前从未感到如此团结：没有什么比他们聚集在收音机周围热切地聆听广播更能体现这一点的了。强有力的“父亲形象”的演讲，他现在是他们的领袖。
The real archetype now coming into play in British life was that of the Self: giving each individual a part to play in a cosmic battle between the powers of darkness and those of light. Men were again liberated to play a fully masculine role. Women could again become feminine, courageously representing those values of heart and soul for which so much was now being risked. Everyone was caught up in the new-found national spirit. From the King and Queen, venturing out from a bomb-damaged Buckingham Palace to tour the blitzed slums of London’s East End, down to a country village clustered round its ancient church or the shipyards of the ‘Red Clyde’, the British people had never before felt so united: as was nowhere better symbolised than by the eagerness with which they clustered round radio sets to listen to the speeches of the robust ‘father-figure’ who was now their leader.
整个民族之所以能以这种方式被原型所附身，是因为他们所面对的“黑暗力量”如此明显地代表了它的反面：自我的彻底倒置。与第一次世界大战相比，以希特勒邪恶天才为化身的“敌人”现在代表着纯粹的黑暗。通过如此清晰地代表人类心理的极端黑暗一极，它现在已经在英国人民的心中和思想中形成了与之相反的原型。
The reason why an entire nation could become possessed by the archetype in this way was that the ‘dark power’ they were up against so obviously represented its opposite: a complete inversion of the Self. Much more than in the First World War, the ‘enemy’, personified in Hitler’s evil genius, now represented unalloyed darkness. By so clearly representing the extreme dark pole of the human psyche, this had now constellated in the hearts and minds of the British people the archetype which was its light opposite.
我们之前已经注意到，第二次世界大战如何产生了比历史上任何其他事件都要多得多的“故事”，从虚构的电影和小说到纪实纪录片。原因之一是，在现实生活中，战争是由无数个单独的事件、空战、海战、陆战组成的，每一个事件在适当的时候都可以作为一个故事来重述。但真正使这一切成为可能的，除了技术的进步使第二次世界大战比其前任更加深远和迅速发展这一事实之外，恰恰是德国人和他们的日本盟友的行为，比第一次世界大战更加明显在第一次世界大战中，他们如此明确地扮演了“怪物”的典型角色。
We have noted before how the Second World War was to give rise to immeasurably more ‘stories’, from fictional films and novels to factual documentaries, than any other event in history. One reason for this was that, in real life, the war was made up of countless individual episodes, air and sea battles, campaigns on land, each of which in due course could lend itself to retelling as a story in its own right. But what really made this possible, apart from the fact that advances in technology made World War Two much more far-reaching and fast-moving than its predecessor, was precisely that the conduct of the Germans and their Japanese allies, so much more obviously than in World War One, cast them so unequivocally into the archetypal role of the ‘monster’.
这就是为什么，首先对英国人来说，然后对他们的其他盟友来说，塑造他们对战争的情感反应的模式是参与一个巨大的、现实生活中的“克服怪物”故事：一个每个人都感觉参与其中的原型戏剧，直到怪物最终被追踪到他的巢穴并被杀死之前，这一切都不会结束。即使胜利的遥远前景几乎是不可想象的，战争还是产生了许多虚构的故事，所有这些故事都比两次世界大战之间的几十年里几乎所有的故事都牢固地植根于自我的价值观。
This was why, first for the British, then for their other allies, the pattern which shaped their emotional response to the war was that of participation in a huge, real-life Overcoming the Monster story: an archetypal drama in which everyone felt involved, and which would not be over until the monster was finally tracked down to his lair and slain. Even when that distant prospect of victory was as yet almost unthinkable, the war gave rise to a host of fictional stories, all of which, more than almost any conceived in the inter-war decades, were firmly rooted in the values of the Self.
早在 1940 年，保罗·加利科 (Paul Gallico) 的《雪雁》(The Snow Goose)就从敦刻尔克的悲剧中编织了一个关于光明与黑暗的非凡寓言，故事的中心人物是一位在黑暗似乎占据统治地位的世界中被描绘成完全光明的英雄。然而，故事传达的信息是，即使他死了，生命和光明仍然胜利（就像基督的故事一样）。同年，一位牛津大学盎格鲁-撒克逊文学教授的潜意识中涌现出这样一个宏大的故事：两个非常英国的小英雄弗罗多和山姆最终从可怕的怪物手中拯救了中土世界，怪物的野心是征服世界。从东方向它投下这样的阴影。
As early as 1940, Paul Gallico’s The Snow Goose wove out of the tragedy of Dunkirk an extraordinary parable of light and dark, centred on a hero who was portrayed as completely light, in a world where darkness seemed to reign supreme. Yet even in his death, ran the message of the story, life and light were triumphant (as in the story of Christ). In the same years, welling up from the unconscious of an Oxford professor of Anglo-Saxon literature, was that huge story of how two little, very English heroes, Frodo and Sam, eventually saved Middle Earth from the terrifying monster whose world-conquering ambitions were casting such a shadow over it from the east.
然而，讲故事所带来的变化在电影中最为明显。 1942 年，诺埃尔·考沃德 (Noel Coward) 创作了一部关于吸毒成瘾和离婚的战前戏剧，使他成为现代“颓废”的代名词。战争时期最强烈的爱国电影之一。《我们服务》感动了观众，向那些在海上经受可怕磨难的人们的无私勇气，以及他们在家里所爱的人所表现出的同样无私的性格力量致敬。其他受欢迎的战时电影也取材于英国在劳伦斯·奥利维尔 (Laurence Olivier) 毫不掩饰地鼓舞士气的莎士比亚戏剧版本中，历史以纳尔逊 (Nelson)、小皮特 (Pitt the Younger) 和亨利五世 (Henry V) 等过去有男子气概的民族英雄为中心。卡罗尔·里德的《未来之路》（1944）讲述了一群英国士兵在敦刻尔克战败后如何重拾士气，并最终在阿拉曼击败隆美尔的过程中所发挥的作用。《星辰之路》（1944）讲述了一位年轻的英国皇家空军轰炸机飞行员和他的妻子之间的爱情，妻子代表了“永恒的女性”，在她的丈夫和他的许多战友一样，离开后，妻子独自一人带着他们的小儿子。在对纳粹占领的欧洲的突袭中做出了最大的牺牲。
Nowhere, however, was the change which had come over storytelling more immediately obvious than in the cinema, In 1942 Noel Coward, whose pre-war plays about drug-addiction and divorce had made him synonymous with modern ‘decadence’, came up with one of the most robustly patriotic films of the war. In Which We Serve moved audiences with its tribute to the selfless courage of those enduring terrifying ordeals at sea, and the equally selfless strength of character shown by those they loved at home. Other popular wartime films drew on Britain’s history to centre on such manly national heroes from the past as Nelson, Pitt the Younger and Henry V, in Laurence Olivier’s unashamedly morale-boosting version of Shakespeare’s play. Carol Reed’s The Way Ahead (1944) told the story of how a group of British soldiers rebuilt their morale after defeat at Dunkirk, to end with their part in the victory over Rommel at El Alamein. The Way to the Stars (1944) hinges on the love between a young RAF bomber pilot and his wife, representing the ‘eternal feminine’, who is left alone with their baby son, after her husband, like so many of his comrades, has made the supreme sacrifice in a raid on Nazi-occupied Europe.
当然，对于那些在1942年至1945年间被盟军轰炸机夷为废墟的德国城市的居民来说，对于那些曾经所向披靡的德国军队现在在欧洲各地撤退来说，他们所陷入的阴谋是非常不同的。这是悲剧，希特勒的幻想在1941年至1942年逐渐从梦想阶段走向挫败，然后进入1943年以来从四面八方围攻德国的噩梦。
Of course to the inhabitants of those German cities which between 1942 and 1945 allied bombers were reducing to rubble, as for those once all-conquering German armies now in retreat all over Europe, the plot they were caught up in was very different. It was that of Tragedy, as Hitler’s fantasy gradually moved from its dream stage to frustration in 1941–1942, then to the nightmare which, from 1943 onwards, closed in on Germany from all sides.
典型地，战争的一个重要时刻发生在1942年的苏联，当时斯大林从他的红军最初的灾难性失败中恢复过来，放弃了共产主义的口号，并呼吁他的人民与“俄罗斯母亲”联系在一起的所有最返祖的爱国本能。 '。对教会的迫害停止了。陆军军官可以再次穿上制服，以将自己与部下区分开来。俄罗斯人民现在正在进行“伟大的卫国战争”。至少在宣传方面，斯大林扭转了共产主义的“黑暗倒置”，并试图利用那些以自我的集体象征主义为中心的原型情感，二十年来他竭尽全力铲除和摧毁这种象征主义。6
Archetypally, a significant moment of the war came in the Soviet Union in 1942, when Stalin, reeling from his Red Army’s initial catastrophic reverses, dropped the slogans of Communism and appealed to all the most atavistic patriotic instincts associated by his people with ‘Mother Russia’. Persecution of the Church ceased. Army officers could again wear uniforms to mark them out from their men. The Russian people were now engaged in ‘the Great Patriotic War’. At least in propaganda terms, Stalin had reversed something of Communism’s ‘dark inversion’, and sought to play on precisely those archetypal emotions centred around the collective symbolism of the Self which for two decades he had done everything to root out and destroy.6
1941 年 12 月，日本偷袭珍珠港，促使美国参战，没过多久，美国的民族情绪就经历了与英国同样的转变。她的人民陷入了同样的感觉，他们卷入了一场光明力量对抗黑暗力量的宇宙斗争。同样的典型价值观也得到了重新调整，很快就在好莱坞得到体现，恢复了那些现在被视为英雄的年轻美国军人的男性美德，以及总统富兰克林·D·罗斯福坚定的、“慈父般”的领导。1945 年，美国海军陆战队在硫磺岛升起星条旗的形象成为他们的同胞们战争中理想化的美国男子气概的最高象征。
When America’s entry into the war was precipitated by the Japanese attack on Pearl Harbour in December 1941, it did not take long for her national mood to go through much the same transformation as that which had already overtaken Britain. Her people became caught up by the same sense that they were involved in a cosmic struggle for the forces of light against darkness. There was the same realignment of archetypal values, soon reflected by Hollywood, reinstating to a place of honour those masculine virtues which were now identified with heroic young American servicemen, and the firm, ‘fatherly’ leadership of their President, Franklin D. Roosevelt. In 1945 the image of US Marines raising the Stars and Stripes over Iwo Jima became for their compatriots the war’s supreme icon of idealised American manhood, just as for the British the iconic image of their indomitable island spirit had been the shot of St Paul’s standing unbowed amid the fire and smoke of the London Blitz.
然后，1945 年 8 月，出现了另一个令全人类难忘的景象：广岛上空升起的火球和蘑菇云。在模棱两可的“洛基精神”的指引下，智人终于学会了如何解锁宇宙最基本的力量，让历史上最伟大的战争戛然而止。7迫使日本投降的冲击挽救了比日本两座城市被毁的生命更多的生命。当盟军揭露了希特勒及其追随者在灭绝营中杀害了数百万受害者的难以想象的恐怖事件时，即使是在欧洲战争的最后几周席卷德累斯顿的大火也似乎是合理的。通过集体展示任何神话英雄所需的原型品质的结合，“怪物”终于被克服了。但当人类跌跌撞撞地步入脆弱和平的曙光时，它被这样一种认识所困扰，即先进的意识现在已经召唤出一个可能更加可怕的怪物，拥有多次毁灭生命的力量。
Then, in August 1945, came another unforgettable image for all mankind: that of the fireball and mushroom cloud rising over Hiroshima. Guided by the ambiguous ‘spirit of Loki’, Homo sapiens had finally learned how to unlock the most basic power of the universe, to bring the greatest war in history to an abrupt end.7 The shock which forced the surrender of Japan saved many more lives than those lost in the pulverisation of two of her cities. Even the firestorm which engulfed Dresden in the closing weeks of the European war might have seemed justified when allied troops uncovered the unimaginable horrors of the extermination camps in which Hitler and his followers had murdered millions of victims. By a collective demonstration of that combination of archetypal qualities required in any hero of myth, the ‘monster’ had finally been overcome. But as humanity stumbled out into the dawn of a fragile peace, it was haunted by the knowledge that advancing consciousness had now called into being a monster potentially even more terrifying, with the power to destroy life many times over.
在许多方面，流行原型的重新调整在战争年代极大地改变了西方世界的情绪，并在随后的十年中持续存在。美国扮演了西方超级大国的角色，成为对抗共产主义新“黑暗帝国”的自由和民主堡垒，后者已经占领了欧洲的一半，其次是拥有世界四分之一人口的中国。在杜鲁门总统和艾森豪威尔总统领导下，美国领导人在战争中变得更加坚强，在他们的新角色中显得适当的阳刚和成熟。而且，当她的经济再次起飞，进入世界上有史以来最伟大的物质繁荣时，她的故事讲述反映了一个仍然保留着保守的自我价值观的社会，这些价值观在诺曼·洛克威尔为《周六晚邮报》的封面上得到了象征。描绘了一个理想化的家庭，由慈爱的父亲和母亲组成，他们带着微笑、衣着考究的孩子们聚集在整洁的“全美式”郊区住宅中的圣诞树周围。
In many ways, the realignment of the prevailing archetypes which had so changed the mood of the Western world during the war years persisted through the decade that followed. America assumed the role of the west’s superpower, the bastion of freedom and democracy against the new ‘dark empire’ of Communism which had taken over half of Europe, followed by the country containing a quarter of the world’s population, China. Toughened by war, America’s leaders, under Presidents Truman and Eisenhower, seemed appropriately masculine and mature for their new role. And, as her economy again took off into the greatest material prosperity the world had ever known, her storytelling mirrored a society still at home with those conservative values of the Self which were symbolised in Norman Rockwell’s covers for the Saturday Evening Post, showing an idealised family of loving father and mother gathered with their smiling, well-dressed children round the Christmas tree in a neat, ‘all-American’ suburban home.
从《生活多美好》（1946）到《正午》（1952）再到《宾虚》（1959），战后好莱坞电影的精神仍然保留着詹姆斯·斯图尔特（他本人是战时轰炸机飞行员）等明星的价值观，加里·库珀、加里·格兰特、约翰·韦恩和查尔顿·赫斯顿都可以表现出明显的男性气概、勇敢、正派、善良、对女性有侠义精神。她们的对手是玛丽莲·梦露、艾娃·加德纳、格蕾丝·凯利、奥黛丽·赫本、黛比·雷诺兹、多丽丝·黛、金·诺瓦克、索菲亚·罗兰等明星，她们穿着飘逸的长及小腿的“New Look”连衣裙，毫无疑问是女性化的。类似的价值观塑造了罗杰斯、汉默斯坦和科尔·波特音乐剧，这些音乐剧在战后娱乐中占据主导地位，例如《俄克拉荷马州》、南太平洋、国王和我、油漆你的马车、吻我凯特和叫我女士。它们可能是感伤的，但在几乎所有此类故事中，典型的幸福结局的升华，男女主角在幕落前的结合，几乎已经成为讲故事的代名词。
From It’s a Wonderful Life (1946) through High Noon (1952) to Ben Hur (1959), the ethos which governed post-war Hollywood movies still held to those values by which stars such as James Stewart (himself a wartime bomber pilot), Gary Cooper, Cary Grant, John Wayne and Charlton Heston could be shown as men who were unmistakably masculine, brave, decent, good-hearted, chivalrous to women. Their unmistakably feminine counterparts, in flowing calf-length ‘New Look’ dresses, were stars such as Marilyn Monroe, Ava Gardner, Grace Kelly, Audrey Hepburn, Debbie Reynolds, Doris Day, Kim Novak, Sophia Loren. Similar values shaped the Rogers and Hammerstein and Cole Porter musicals which so dominated post-war entertainment, such as Oklahoma, South Pacific, The King and I, Paint Your Wagon, Kiss Me Kate and Call Me Madam. Sentimental they may have been, but in almost all such stories, the uplift of the archetypal happy ending, the uniting of hero and heroine before the curtain fell, had become almost synonymous with storytelling.
在英国，在战后紧缩时期的紧缩时期，新的工党政府似乎延续了战争产生的公共理想主义意识，着手建立一个据称致力于所有人利益的无私、公平的新世界'人民'。20世纪50年代初，丘吉尔回到唐宁街10号，主持国家逐步恢复繁荣。1953年，古来自大英帝国和英联邦的代表出席了围绕年轻新女王加冕典礼的盛大仪式，展现了世界范围内“家庭”的非凡形象，聚集在一起向其集体自我的原型象征致敬。英国社会的阶级结构仍然基本完好，仍然由传统的社会和性道德框架维系在一起，似乎正在回归保守的“常态”。
In Britain, amid the austerities of the immediate post-war period, a new Labour government seemed to continue that sense of communal idealism generated by the war, as it set out to build a selfless, fair new world supposedly dedicated to the interests of all ‘the People’. In the early 1950s, Churchill returned to 10 Downing Street, to preside over his country’s gradual return to prosperity. In 1953, the ancient pageantry surrounding the Coronation of a new young Queen, attended by representatives from Britain’s Empire and Commonwealth, projected an extraordinary image of a worldwide ‘family’, gathered together to pay homage to the archetypal symbols of its collective Self. British society, its class structure still largely intact, still held together by a framework of traditional social and sexual morality, seemed to be returning to a conservative ‘normality’.
所有这一切都在战后的英国电影中得到了反映，它们愉快地展现了英国从英勇的战时磨难中走出来的独特观点，敏锐地意识到阶级差异，但仍然是一个由共同的传统价值观联系在一起的社会。那是伊灵喜剧的鼎盛时期，如《皮姆利科护照》、《仁慈的心与皇冠》、《薰衣草山暴徒》；杰克·华纳(Jack Warner) 塑造了理想化的慈父般的警察，后来成为 20 世纪 50 年代电视连续剧《格林码头的迪克森》( Dixon of Dock Green)中的英雄；狄更斯十九世纪小说的经典电影版本，例如《远大前程》和《雾都孤儿》。战争本身的事件并没有在银幕上得到太多的关注，直到 20 世纪 50 年代初，出现了大量再现英国战时英勇事迹的电影，从不列颠之战、丹巴斯特号突袭到施佩伯爵号沉没入狱——营地逃亡故事。
All this was reflected in the post-war years by the British cinema, happily projecting a particular view of Britain as it had emerged from its heroic wartime ordeal, keenly aware of class differences but still a society bound together by shared traditional values. It was the heyday of Ealing comedies, such as Passport to Pimlico, Kind Hearts and Coronets, The Lavender Hill Mob; of films like The Blue Lamp, with Jack Warner creating the idealised fatherly policeman later to become the hero of a 1950s television series Dixon of Dock Green; of the classic film versions of Dickens’s nineteenth-century novels, such as Great Expectations and Oliver Twist. The events of the war itself did not much feature on the screen until, in the early 1950s, a flood of films appeared recreating heroic British wartime episodes, from the Battle of Britain, the Dambusters raid and the sinking of the Graf Spee to prison-camp escape stories.
在剧院里，当时正值西区“客厅喜剧”的鼎盛时期，特伦斯·拉蒂根 (Terence Rattigan) 的《鸡尾酒会》( The Cocktail Party)：为受人尊敬的中产阶级观众上演深思熟虑、不令人不安的戏剧，讲述像他们这样的社会“上层”人士的生活。伊夫林·沃 (Evelyn Waugh) 是 20 年代富有挑衅性的年轻小说家，他开始创作有关战争的严肃三部曲《荣誉之剑》，部分原因是他皈依了罗马天主教。而他最长的小说《故园重游》（ Brideshead Revisited，1945）就像是对他的第一部小说《衰落与衰落》情节的认真重温。（1928），用一个古老的上层阶级天主教家庭颓废的令人难忘的肖像取代了对 20 年代不道德的讽刺，在现代野蛮主义的兴起将其视为过去时，仍坚持其天主教信仰的感伤版本。即使是与沃同时代的格雷厄姆·格林（Graham Greene），尽管他专门描绘被称为“格林兰”的社会和道德暮色世界，但仍坚持他自己的感伤版本的天主教，因为他提供了黑暗中某处闪烁着光明的希望。8
In the theatre it was the heyday of West End ‘drawing room comedy’, Terence Rattigan, T. S. Eliot’s The Cocktail Party: thoughtful, undisturbing plays for respectable middle-class audiences, about the lives of socially ‘above the line’ people like themselves. Evelyn Waugh, the provocative young novelist of the 1920s, had embarked on his earnest trilogy about the war, Sword of Honour, partly inspired by his conversion to Roman Catholicism; while his longest novel, Brideshead Revisited (1945) was like a serious revisiting of the plot of his first, Decline and Fall (1928), replacing its sardonic satire of the amoral 1920s with a haunting portrait of an old upper-class Catholic family in its decadence, clinging on to a sentimentalised version of its Catholic faith as the rising tide of modern barbarism consigned it to the past. Even Waugh’s contemporary, Graham Greene, although he specialised in portraying the social and moral twilight world dubbed ‘Greeneland’, clung on to his own sentimental version of Catholicism, as offering the hope that there was light flickering somewhere in the darkness.8
无论有些人在寻找意义时仍然坚持过去的意象和象征意义，战后第一个十年的世界正在迅速变化。新女王在中世纪背景下的威斯敏斯特教堂加冕，本应成为向英国人民介绍新电视媒体的最重要的场合，这一点具有象征意义。从各个方面来看，技术创新的步伐正在以前所未有的速度改变着人类的生活：第一架喷气式客机；晶体管；新的神奇药物，如青霉素，它有望为人类对抗疾病的能力带来一场革命；滴滴涕等新型农药，有望引发全球粮食生产革命；核裂变产生电力；第一批火箭进入太空。
However much some were still holding to the imagery and symbolism of the past in their search for meaning, the world in that first post-war decade was changing rapidly. It was symbolically apt that the crowning of a new Queen in the mediaeval setting of Westminster Abbey should have been the occasion which more than anything else introduced the people of Britain to the new medium of television. On all sides the pace of technological innovation was now transforming human life more rapidly than ever before: the first jet airliners; transistors; new wonder-drugs like penicillin, which promised a revolution in man’s ability to combat disease; new pesticides like DDT, which promised a worldwide revolution in food production; nuclear fission producing electric power; the first rockets reaching into space.
到了 20 世纪 50 年代中期，人们越来越意识到，人类正站在一个全新时代的黎明，拥有驾驭自然力量的力量，这将使之前的一切相形见绌。这一点在美国表现得最为明显，现在，在年长而保守的战时将军艾森豪威尔的领导下，美国毫无疑问是世界上最富有、最强大、技术最先进的国家。但伴随着这种光明未来的愿景而来的是令人不安的意识到它投下了长长的阴影。核物理的进步已经产生了氢弹。火箭科学的这些进步正在制造能够携带此类武器飞越半个地球的导弹。人类的梦想现在正被一场难以想象的新噩梦所困扰。
By the mid-1950s there was a growing sense that humanity was standing at the dawn of a wholly new era, with a power to command the forces of nature which would dwarf anything which had gone before. Nowhere was this more obvious than in America, now, under the presidency of the elderly and conservative wartime general Eisenhower, indisputably the richest, most powerful, most technologically advanced nation in the world. But along with this vision of a shining future had come the uncomfortable awareness that it cast a long shadow. The advance of nuclear physics had already produced the hydrogen bomb. Those advances in rocket science were creating missiles capable of carrying such weapons halfway across the globe. The dreams of mankind were now becoming haunted by a barely imaginable new nightmare.
至少从表面上看，这种恐惧可以变成大众娱乐。20 世纪 50 年代初，在美国和英国，出现了大量的科幻恐怖故事，展示人类面临着最终的灾难：要么是人类自己的技术独创性创造了失控的怪物，要么是来自外太空的外星人一心要到来。接管地球。约翰·温德姆 (John Wyndham) 的《三翼之日》(The Day of the Triffid)或奈杰尔·尼勒 (Nigel Kneale) 的《夸特玛斯》 ( Quatermass)等故事的力量电视连续剧的起源是，它们首先展示人物生活在 20 世纪 50 年代和平、日常的当代世界，以及这种和平如何突然被某种黑暗和可怕的力量的可怕入侵所打破。总是，当噩梦达到顶峰，人类似乎注定要灭亡时，英雄和他的同伴要么设法消灭了怪物，要么至少逃离了它的魔爪，以某种方式为人类能够生存和人类的统治带来了希望。黑暗终有一天会结束。
At least on the surface such fears could be turned into popular entertainment. Both in America and Britain, the early 1950s saw a rash of science fiction horror stories showing humanity facing some final catastrophe: either through its own technological ingenuity having created monsters which run out of control, or through the arrival of aliens from outer space bent on taking over planet Earth. The power of stories such as John Wyndham’s The Day of the Triffids or Nigel Kneale’s Quatermass serials for television derived from the way they began by showing their characters living in a peaceful, everyday contemporary world of the 1950s, and how this peace was then suddenly shattered by the terrifying irruption of some dark and monstrous power. Invariably, just when the nightmare reached its height and mankind seemed doomed, the hero and his companions either managed to destroy the monster, or at least to escape from its clutches, in a way which offered hope that humanity could survive and that the reign of darkness could one day be brought to an end.
西方社会盛行的原型即将再次经历惊人的变化。
The prevailing archetype in the societies of the West was again about to go through a startling change.
5. 自我的重新出现（一）：1955-1980
5. The re-emergence of the ego (I): 1955–1980
“当音乐的基调发生变化时，城墙就会摇晃。”
‘When the mood of the music changes, the walls of the city shake.’
（20 世纪 60 年代末的口号，出自柏拉图之手。9）
(Late 1960s slogan, attributed to Plato.9)
即将席卷西方世界的精神剧变首先在年轻一代身上显现出来。到了 20 世纪 50 年代中期，各种电影都捕捉到了一种新的不安情绪，现在影响着许多即将步入成年生活的人，而 10 年前，他们会全神贯注于第二次世界大战。1953 年，马龙·白兰度 (Marlon Brando) 在《狂野一号》(The Wild One)中饰演一伙身穿皮夹克的“托纳普孩子”(tonup kids)，他们是一个咄咄逼人的团伙的头目，他们袭击了加利福尼亚的一个小镇（最终他被指控谋杀）。两年后，美国青少年电影观众被好莱坞年轻新星詹姆斯·迪恩在《无因的反叛》中迷住了（1955），扮演一位速度疯狂的英雄，最终在一场车祸中自杀（就在迪恩在现实生活中以同样的方式去世的几个月前）。费德里科·费里尼的《跨越大西洋》 （ I Vitelloni，1954）以一群无聊、追求刺激的意大利青少年为中心，就像英国当代的“泰迪男孩”热潮一样，展示了随着战争阴影的消退，人们对泰迪熊的新渴望。兴奋并不仅限于美国。
The psychic upheaval about to engulf the Western world first showed in the younger generation. By the mid-1950s various films were catching a newly restive mood now affecting many of those on the verge of adult life, who 10 years earlier would have been preoccupied with fighting World War Two. In 1953 The Wild One featured Marlon Brando as the leader of an aggressive gang of leather-jacketed ‘tonup kids’ descending on a California town (and ended with him being accused of murder). Two years later teenage American movie-goers were hypnotised by a new young Hollywood star James Dean in Rebel Without a Cause (1955), playing a speed-crazed hero who ended up killing himself in a car crash (only months before Dean died in identical fashion in real life). Across the Atlantic Federico Fellini’s I Vitelloni (1954) centred on a bored, sensation-seeking bunch of Italian teenagers, showing, like the contemporary ‘Teddy boy’ craze in Britain, that, as the shadows of the war receded, the new hunger for excitement was not confined only to America.
然而，即将到来的地震规模的第一个真正迹象是 1956 年对电影《昼夜摇滚》的反应，该电影由比尔·哈利和彗星乐队主演（前一年曾在一部关于纽约贫民窟学校的暴力事件，黑板丛林）。他们的音乐引起了极大的兴奋，以至于引发了骚乱。在伦敦南部，三千名“泰迪男孩”暴徒在街道上横冲直撞了几个小时，留下了一片破坏痕迹。几个月之内，海莉的光芒就被另一位新的邪教英雄——埃尔维斯·普雷斯利（Elvis Presley）所掩盖，他是年轻男性性欲猖獗的缩影。摇滚乐的震撼节奏成为 20 年代以来流行音乐中最狂热的热潮。
The first real sign of the scale of the earthquake to come, however, was the reaction in 1956 to the movie Rock Around the Clock, starring a group known as Bill Haley and the Comets (who had briefly featured the previous year in a film about violence in a New York slum school, Blackboard Jungle). Their music aroused such excitement that it set off riots. In south London a mob of three thousand ‘Teddy boys’ rampaged through the streets for several hours, leaving a trail of devastation. Within months Haley was overshadowed by another new cult hero, Elvis Presley, the epitome of rampant young male sexuality. The pounding beat of rock ’n’ roll became the most feverish craze in popular music since the 1920s.
与此同时，一位不知名的年轻剧作家在伦敦创作的一部看似毫无关联的新剧一夜之间成为年度戏剧界的轰动事件。约翰·奥斯本的《愤怒的回顾》展现了无聊、愤怒、“下层阶级”的年轻英雄吉米·波特在中部地区一间破旧的公寓里，对中产阶级的咆哮，他认为建制派价值观是令人窒息的英国生活，这与观众所看到的任何东西都不一样。以前见过。肯·泰南（Ken Tynan）等评论家称赞它像一阵新鲜空气一样呼啸而过，穿过战后主导英国戏剧的令人窒息的保守传统。很快，奥斯本和其他新的、年轻的、“线下”作家，如小说家金斯利·艾米斯和约翰·布雷恩，被媒体称为“愤怒的年轻人”。
At much the same time, apparently unconnected, a new play in London, by an unknown young playwright, became overnight the theatrical sensation of the year. John Osborne’s Look Back in Anger, showing its bored, angry, ‘lower-class’ young hero Jimmy Porter in a seedy Midlands flat, ranting at the middle-class, Establishment values which he saw as suffocating English life, was unlike anything audiences had seen before. It was hailed by critics like Ken Tynan as roaring like a gale of fresh air through the stifling conservative conventions which had dominated English drama since the war. Soon Osborne and other new, young, ‘below the line’ writers, such as the novelists Kingsley Amis and John Braine, had been dubbed by the press as ‘angry young men’.
二十世纪最后四十年的一个显着特征是，它们在多大程度上以一系列价值观和态度为特征，这些价值观和态度在短短几年的时间里，即20世纪50年代中期到20世纪50年代末期之间形成。 20 世纪 60 年代。到了 20 世纪 60 年代中期，人们就注意到西方世界已经发生了一场“革命”，从流行音乐、“青年文化”和“性解放”的兴起，到电视和性解放的新无所不在，一切都体现了这一点。 “消费社会”的兴起。这给人们的思想和行为方式带来的转变将持续到本世纪末甚至更久。但本质上它是从 1955 年至 1956 年“音乐基调”发生变化的那一刻开始的。
A remarkable feature of the last four decades of the twentieth century was the extent to which they would be characterised by a set of values and attitudes which came into being in the space of just a few years, between the middle of the 1950s and the late 1960s. Already by the mid-1960s it was being observed that a ‘revolution’ had taken place in the Western world, exemplified in everything from popular music, the rise of ‘youth culture’ and ‘sexual liberation’ to the new omnipresence of television and the rise of the ‘consumer society’. The transformation this had brought about in the way people thought and behaved would last to the end of the century and beyond. But essentially it had begun at that moment in 1955–1956 when ‘the mood of the music’ changed.
在接下来的几年里，一种独特的新“亚文化”在西方民主国家的年轻人中出现，他们认为自己是对老一代及其所代表的一切的反叛。他们的新音乐将他们联系在一起时尚的服装和源自爵士乐的美国俚语（“酷”、“疯狂”、“狂欢”、“狂野”、“怪异”、“踢”），他们的集体情绪表现出了群体幻想的所有常见症状：僵化循规蹈矩，以摇滚歌手为中心，将其视为标志性的梦想英雄，并对所有幻想社区之外的人的“无聊”、“压抑”价值观表现出一种侵略感，这些人被视为“方形”。在美国，新的“垮掉的一代”的情绪在杰克·凯鲁亚克的小说《在路上》（1957）中得到了体现。在英国，一位中年小说家科林·麦金尼斯（Colin MacInnes）试图在《绝对初学者》（Absolute Beginners，1959）中捕捉这种梦想状态，他描述了他的年轻英雄从平板玻璃窗俯瞰伦敦：
Over the next few years a distinct new ‘sub-culture’ emerged among the young of the Western democracies, whereby they saw themselves as in rebellion against the older generation and all it stood for. Bonded together by their new music, their fashions in clothes and jazz-derived American slang (‘cool’, ‘crazy’, ‘rave’, ‘wild’, ‘freaky’, ‘kicks’), their collective mood exhibited all the familiar symptoms of a group-fantasy: rigidly conformist, centred on rock ’n’ roll singers as its iconic dream heroes, and exhibiting a sense of aggression towards the ‘boring’, ‘repressive’ values of all those outside their fantasy-community, who were dismissed as ‘squares’. In America the mood of this new ‘beat generation’ found expression in Jack Kerouac’s novel On the Road (1957). In Britain a middle-aged novelist Colin MacInnes tried to capture this dream-state in Absolute Beginners (1959), as he described his young hero looking down on London from a plate-glass window:
“距离如此之近，就好像我在空中，悬浮在城市上空，我向埃尔维斯和所有圣人发誓，我青少年时期的最后一年将是一场真正的狂欢。” 是的，伙计，无论如何，在青少年梦想的最后一年，我出去寻找刺激和幻想。
‘pressed up so close it was like I was out there in the air, suspended above the city, and I swore by Elvis and all the saints that this last teenage year of mine was going to be a real rave. Yes, man, come whatever, this last year of the teenage dream I was out for kicks and fantasy.’
然而，到了 20 世纪 50 年代末，不仅仅是年轻人意识到一些非凡的新世界正在打开。所发生的情况是，在战争年代的自我价值观复兴之后，这个时代的情绪正在从“咆哮的二十年代”中止的地方恢复过来：而这现在正在产生不同的期望泡沫它们重叠并很快开始相互融合。
By the late 1950s, however, it was not only the young who had the sense that some extraordinary new world was opening up. What was happening was that, after that revival of the values of the Self which had characterised the war years, the mood of the age was picking up where it left off in the ‘Roaring Twenties’: and this was now generating different bubbles of expectation which overlapped and soon began to merge with each other.
支撑这一切的是技术变革的令人振奋的步伐，对于西方较富裕国家的大多数人来说，这带来了一种全新的物质繁荣。“富裕”已经到来。随着数百万人购买了他们的第一辆汽车和冰箱，第一条高速公路的出现，第一家霓虹灯闪烁的超市，最重要的是现在无处不在的电视屏幕让人们的头脑充满了“现代性”的新视野。具有象征意义的是，随着巨大的新型金属、玻璃和混凝土塔楼（再次借鉴了 20 年代的想法）开始拔地而起，城市生活的感觉正在发生转变，直到现在由教堂的塔楼、尖顶和圆顶占据主导地位。
Underpinning it all was the exhilarating pace of technological change, which for most people in the richer countries of the West was bringing an entirely new kind of material prosperity. ‘Affluence’ had arrived. As millions bought their first cars and refrigerators, the coming of the first motorways, the first neon-lit supermarkets, above all the now ubiquitous television screens were filling people’s heads with a new vision of ‘modernity’. Symbolically, the feel of city life was being transformed as massive new metal, glass and concrete towers (again picking up on ideas from the 1920s) began to rise above skylines until now dominated by the towers, spires and domes of churches.
人们普遍感觉到社会正在进入一个新的、令人兴奋的未来，这种感觉比 20 年代更加明显，带来了从过去继承的所有社会和道德结构框架中解放出来的冲动。从阶级结构到性别，长期存在的限制和态度似乎突然变得限制性的、过时的，与新世界技术的需求无关。
So headily all-pervasive was the sense that society was being carried into a new, exciting future that, even more obviously than in the 1920s, this brought an urge for liberation from all that framework of social and moral structures inherited from the past. From the class structure to sex, long-established constraints and attitudes seemed suddenly restrictive, outmoded, irrelevant to the needs of the new world technology was making possible.
1950年，美国社会学家大卫·里斯曼（David Riesman）出版了一本有先见之明的书《孤独的人群》，指出了人类形成价值观和生活态度的三种基本方式。第一个是里斯曼所描述的“传统导向”社会，在这个社会中，人们普遍继承了父母和前几代人遗传给他们的习俗和信仰体系。第二个是“他人导向”的社会，在这个社会中，人们接受由同侪群体和周围当代世界的所有压力决定的基于时尚的价值观。第三类，更为罕见的一类包括那些“内在导向”的个体，他们逐渐发现自己自主的内在“中心”，根据自己的经验和理解不断发展价值观。
In 1950 an American sociologist, David Riesman, had published a prescient book, The Lonely Crowd, identifying three basic ways in which human beings formed their values and attitudes to life. The first was what Riesman described as the ‘tradition-directed’ society, in which people in general inherited conventions and belief-systems passed on to them by their parents and by previous generations. The second was the ‘other-directed’ society, in which people took on the fashion-based values dictated by their peer-group and by all the pressures of the contemporary world around them. A third, much rarer category included those ‘inner-directed’ individuals who gradually discover their own autonomous inner ‘centre’, evolving values based on their own experience and understanding.
1960年左右西方社会发生的变化代表着一种前所未有的转变，从“传统主导”社会转向“他人主导”社会。在广告的新力量的推动下，技术变革的步伐，反映在从避孕药到新建筑的一切方面，有助于创造一种全新类型的社会即将诞生的感觉：自由思想、无阶级、性的社会解放了。人们终于获得了自由，可以表达自己的“个性”：但前提是这符合新的统治意识所规定的集体规范。用当时的俚语来说，需要是“与它在一起”。没有人能够准确定义“它”是什么；但每个人都直观地知道这意味着什么。
The change coming over Western society around 1960 represented a move on an unprecedented scale away from a ‘tradition-directed’ society to one in which people were becoming ‘other-directed’. Reinforced by the new power of advertising, the pace of technological change, reflected in everything from the contraceptive pill to the new architecture, helped to create the sense that a wholly new type of society was coming to birth: free-thinking, classless, sexually emancipated. People were at last being liberated to express their own ‘individuality’: but only so long as this conformed with the collective norms dictated by the new ruling consciousness. In the slang of the time, the need was to be ‘with it’. No one could have defined precisely what ‘it’ was; but everyone knew intuitively what was meant.
在更广阔的世界中，所有认为自己处于“线下”的人，例如美国的黑人和那些现在可以期待摆脱欧洲殖民统治的国家，对解放的渴望正在觉醒。当英国首相哈罗德·麦克米伦 (Harold Macmillan) 在 20 世纪 60 年代新的十年开始时表示，“一股变革之风”正在非洲吹过时，他所说的可能不仅仅是非洲，而是整个人类。一种新的原型正在方兴未艾，它到处宣扬青春、活力、自由、兴奋和未来的意象，反对那些突然显得压抑、属于死气沉沉的过去的思想和行为结构。正是这种新形象对人们思想的影响力，将在未来很长一段时间内塑造他们从社会态度到政治等各个方面的思维。和往常一样，没有什么比这个新时代讲故事的方式更生动地反映了精神的剧变。
In the wider world there was an awakening desire for liberation among all those who saw themselves as ‘below the line’, such as the black population of the USA and those countries which could now look forward to independence from European colonial rule. When Britain’s prime minister Harold Macmillan remarked, as the new decade of the 1960s began, that ‘a wind of change’ was blowing through Africa, he might have been speaking not just of Africa but for humanity as a whole. A new archetype was in the ascendant, which everywhere was promoting the imagery of youth, vitality, freedom, excitement and the future against structures of thought and behaviour which seemed suddenly oppressive and to belong to a dead past. It was the power of this new imagery over people’s minds which was now going to shape their thinking in everything from social attitudes to politics for a long time to come. And as usual nothing reflected the psychic upheaval more vividly than the way in which this new age told stories.
当世界处于 20 世纪 60 年代的边缘时，法国新浪潮的年轻电影制片人是一群抓住新情绪并产生特殊效果的讲故事者。让-吕克·戈达尔的《气喘吁吁》(1959)、弗朗索瓦·特吕弗的《射杀钢琴家》 (1960)和《儒勒与吉姆》 (1962)都是奇怪的梦幻般的叙事，每部都以一种鲁莽的青春欣快情绪开始。但随后，每一个都逐渐变成了一场令人费解的噩梦，并以突然、令人震惊的死亡结束。
As the world stood on the edge of the 1960s, one group of storytellers who picked up the new mood to particular effect were the young film-makers of the nouvelle vague in France. Jean-Luc Godard’s Breathless (1959), Francois Truffaut’s Shoot the Pianist (1960) and Jules et Jim (1962) were strange dream-like narratives which each began in a mood of reckless youthful euphoria. But each then gradually turned to a puzzling nightmare, ending abruptly in a sudden, shocking death.
在1960年的英国，恰如其分的是，1920年代最“大胆”的小说《查泰莱夫人的情人》再次出现，成为性解放新斗争的焦点。但它很能说明问题，在《花花公子》杂志率先推动裸体女性色情图片为社会所接受之际，这场反对“反动正经派”和“扫兴者”的斗争的本质在于不那么享受的冲动性满足本身就是性的心理意象。10同年，希区柯克的《惊魂记》的影响之所以如此伟大，是因为它的中心形象是一个裸体的年轻女子被残忍地刺死，这与战后电影中常见的端庄女性形象形成了令人震惊的对比。
In Britain in 1960 it was appropriate that it should have been that most ‘daring’ novel of the 1920s, Lady Chatterley’s Lover, which reappeared to become the focus of the new battle for sexual liberation. But it was telling that the essence of this battle against the ‘reactionary prudes’ and ‘killjoys’, at a time when Playboy magazine was pioneering the drive to make pornographic pictures of naked women socially acceptable, lay in the urge to enjoy not so much sexual gratification itself as the mental image of sex.10 In the same year, the impact of Hitchcock’s Psycho was so great because its central image of a naked young woman being sadistically stabbed to death provided such a shocking contrast to the decorous image of womanhood familiar from films of the post-war era.
然而，1960年最生动地体现“六十年代梦”到来的事件是美国总统选举，这次选举首次借助电视图像的力量，导致美国历史上最年长的总统被她所取代。最年轻的。约翰·F·肯尼迪 (John F. Kennedy) 的超凡魅力、英俊外表和“活力”立即使他成为新十年的第一位“梦想英雄”（正如小说家诺曼·梅勒 (Norman Mailer) 兴奋地说，“超人来到超市！”）。几个月之内，这引发了自由世界迷人的新年轻领导人和年迈的苏联领导人尼基塔·赫鲁晓夫之间日益紧张的关系。1961年，肯尼迪入侵苏联帝国的卫星国古巴失败，赫鲁晓夫的柏林墙随之而来，引发了冷战最严重的危机。
However, the event of 1960 which most vividly reflected the arrival of the ‘Sixties dream’ was the American presidential election which, thanks for the first time to the power of the televised image, led to the replacement of America’s oldest-ever President with her youngest. John F. Kennedy’s charismatic good looks and ‘dynamism’ immediately made him the new decade’s first ‘dream hero’ (as the novelist Norman Mailer excitably put it, ‘Superman comes to Supermarket!’). Within months this had provoked growing tension between the glamorous new young leader of the free world and his ageing counterpart in the Soviet Union, Nikita Khruschev. In 1961 Kennedy’s failed invasion of the Soviet empire’s satellite in Cuba was followed by Khruschev’s Berlin Wall, provoking the worst crisis of the Cold War. In October 1962 came the even more dangerous crisis when Khruschev’s dispatch of nuclear rockets to Cuba brought the world to the edge of nuclear catastrophe.
时代情绪愈加狂热。1962 年 11 月，古巴危机发生几周后，第一部詹姆斯·邦德电影《诺博士》在伦敦首映（巧合的是，影片中的主角是一个可怕的恶棍，他在加勒比海岛上的巢穴中策划了对西方的核毁灭）。与此同时，伦敦上演了一系列噩梦般的耸人听闻的新戏剧（第 27 章中提到），这些戏剧以性和暴力的意象为中心。同月，迄今为止一向稳重恭顺的英国广播公司 (BBC) 凭借《那是那一周》向大众观众介绍了“讽刺热潮”嘲笑英国国民生活中一切既定和传统的事物，尤其是由现在看似过时的“上层阶级”父亲人物麦克米伦领导的政府。同几周，来自利物浦的新摇滚“流行乐队”披头士乐队首次进入排行榜。
The mood of the times was becoming ever more feverish. In November 1962, within weeks of the Cuba crisis, London saw the premiere of the first James Bond film Dr No (coincidentally featuring a monstrous villain who, from his lair on a Caribbean island, planned the nuclear destruction of the West). This coincided in London with a clutch of nightmarishly sensational new plays (referred to in Chapter 27), centred on the imagery of sex and violence. In the same month the hitherto staid and deferential BBC introduced the ‘satire craze’ to a mass-audience with That Was The Week That Was, mocking everything established and traditional in British national life, not least the government headed by the now seemingly antiquated and ‘upper class’ father-figure, Macmillan. The same weeks saw the first entry into the charts of a new rock ’n’ roll-based ‘pop group’ from Liverpool, the Beatles.
1962 年最受欢迎的“艺术电影”之一是意大利导演米开朗基罗·安东尼奥尼的《蚀》一场漂流的噩梦，最终以乌云遮住了太阳，让世界陷入了寂静的暮色。整个 1963 年，随着麦克米伦的保守党政府在谣言和丑闻的阴霾中瓦解，围绕披头士乐队的歇斯底里——从社会“下线”中涌出的“无阶级”、“不敬”的年轻人能量的缩影——变得越来越震耳欲聋。9月，在华盛顿，20世纪60年代初的另一位“梦想英雄”马丁·路德·金率领100万抗议者穿过华盛顿“一线”，为美国黑人少数群体的公民权利举行了一场史无前例的示威活动。然后，11 月 22 日，在新闻头条被各种轰动事件占据的一年之后，战后时代最令人震惊的时刻到来了：肯尼迪总统被刺杀。
One of the most acclaimed ‘art films’ of 1962 was the Italian director Michelangelo Antonioni’s Eclipse, a drifting nightmare which ended in a cloud covering the sun, throwing the world into a silent twilight. Through 1963, as Macmillan’s Conservative government disintegrated in a cloudy miasma of rumour and scandal, the hysteria surrounding the Beatles, the epitome of ‘classless’, ‘irreverent’ youthful energy bubbling up from socially ‘below the line’, grew ever more deafening. In Washington in September another ‘dream hero’ of the early 1960s, Martin Luther King, led a million protestors through ‘above the line’ Washington in an unprecedented demonstration for the civil rights of America’s black minority. Then, on 22 November, after a year when the headlines had been dominated by one sensation after another, came the most shocking moment of the post-war era: the assassination of President Kennedy.
在这次“阴影”爆发之后，美国自身的情绪变得更加阴暗。在接下来的两年里，她所在城市的种族骚乱以及越南发生的灾难日益成为主导。但在这些年里，很明显，20 世纪 50 年代中期摇滚乐时代开始的精神剧变给西方生活的性格和情绪带来了显着的变化，这一点在伦敦最为明显。
In the aftermath of this eruption of ‘shadow’, America’s own mood turned darker. Over the next two years, it was to become dominated by race riots in her cities and, increasingly, the catastrophe unfolding in Vietnam. But in these same years it became obvious that the psychic upheaval which began at the time of rock ’n’ roll in the mid-1950s had produced a remarkable change in the character and mood of Western life, nowhere more obviously than in London.
当人们的注意力集中在流行歌手、模特女孩、演员、摄影师和服装设计师等无阶级的“新贵族”身上时，1964 年和 1965 年，英国在推动基于图像的泡沫方面处于领先地位。使伦敦被誉为“世界上最摇摆的城市”的幻想。从表面上看，人们对席卷伦敦精品店、迪斯科舞厅和光鲜杂志的狂热和时尚表现出一种近乎孩子般的天真，从欧普艺术的耀眼图案到闪亮的 PVC 制服、迷你裙和小白靴，这些都让年轻人失去了个性。但在前面的章节中，我们追溯了这种对新奇事物的无情追求是如何伴随戏剧、电影和小说进入一个更加耸人听闻的暮色世界，充满了性和暴力，并在 1965 年 11 月达到顶峰。年轻人用石头砸死婴儿车里的婴儿的场面。11
As obsessive attention centred on its classless ‘new aristocracy’ of pop singers, model girls, actors, photographers and dress-designers, it emerged in 1964 and 1965 that Britain was leading the way in promoting that bubble of image-based fantasy which caused London to be hailed as ‘the most swinging city in the world’. On the surface there was an almost child-like innocence about the crazes and fashions which swept through London’s boutiques, discotheques and glossy magazines, from the dazzling patterns of Op Art to the shiny PVC uniforms, mini-skirts and little white boots which depersonalised young girls into throwaway sex toys, But in an earlier chapter we traced how this remorseless pursuit of novelty was accompanied by the drift of plays, films and novels into an ever more sensational twilight world, preoccupied with sex and violence and culminating in November 1965 in the spectacle of young men stoning a baby to death in its pram.11
到 1966 年初，情绪发生了奇怪的变化。流行文化精英中的新热潮是迷幻药物LSD，它有助于激发人们对东方宗教的图像和信息的新兴趣。当现在留着胡子、身穿长袍的披头士乐队坐在他们的导师玛赫西的脚下，和拉维·香卡一起弹奏西塔琴时，他们在短短五年内就离开了那些最初谋生的皮夹克郊区青少年。在汉堡红灯区的夜总会里一起模仿美国摇滚乐。
By the beginning of 1966, a curious change of mood was taking place. The new craze among the pop culture’s elite was the psychedelic drug LSD, which helped to inspire a new interest in the imagery and message of Eastern religions. As the now bearded and kaftanned Beatles sat at the feet of their guru, the Maharishi, and strummed their sitars with Ravi Shankar, they had travelled a long way in just five short years from the leather-jacketed suburban teenagers who had first earned a living together imitating American rock ’n’ roll in the nightclubs of Hamburg’s red-light district.
从心理上来说，正在发生的事情是，对于那些处于幻想泡沫中心的人来说，它所代表的不受约束的自我主义现在已经走得太远，以至于产生了那种熟悉的无意识逆转。自我的原型正在以“低等”的形式回归。对“东方神秘主义”的狂热代表了一种“自我与自我的混乱”，自我厌倦了所有明显的自我满足的新奇事物，现在想要一种超越自我的对立面的感伤版本。1967年，这种风潮以更广泛的形式出现，席卷了整个西方世界的年轻人，追求嬉皮钟声、香烛、起源于旧金山的“鲜花力量”运动的“和平与爱”。伪宗教邪教盛行，
Psychologically what was happening was that, for those at the heart of the fantasy bubble, the untrammelled egotism it represented had now gone so far that it was producing that familiar unconscious reversal. The archetype of the Self was returning in an ‘inferior’ form. The craze for ‘Eastern mysticism’ represented a form of ‘ego-Self confusion’, whereby the ego, having wearied of all the novelties of overt ego-gratification, now wanted a sentimental version of its ego-transcending opposite. In 1967 this took on more widespread form in the craze which swept young people across the Western world for the hippie bells, joss sticks, ‘peace and love’ of the ‘flower power’ movement, which had originated in San Francisco. Pseudo-religious cults flourished, invariably centred on some darkly charismatic leader-figure and based on the ruthless separation of their members from the rest of society.
1968年，流行时尚再次发生突变，一群蓬头垢面的学生半愤怒半开玩笑地在世界各地示威，反对从越南战争到大学课程的任何成人既定秩序的象征。当他们高喊托洛茨基革命的口号，用已故古巴革命者切·格瓦拉的标志性海报装饰自己的房间，并在墙壁上涂上“做爱，不要战争”等涂鸦时，恰逢美国传来两人遇刺的消息。更多“六十年代梦想英雄”，马丁·路德·金和肯尼迪总统的弟弟鲍比。第二年，在加利福尼亚州，一个特别黑暗的准宗教邪教的故事以可怕的灾难告终，当时“家族”的领导人查尔斯·曼森（Charles Manson），怂恿他的追随者进行暴力狂欢，导致电影女演员莎朗·塔特被谋杀。出于可怕的对称性，她嫁给了近十年来最痴迷的性与暴力形象创造者之一、罗曼·波兰斯基（Roman Polanski），他是《性与暴力》的导演。《排斥》（1965）和《迷迭香的婴儿》（1966）以一位怀孕的年轻母亲生下魔鬼（终极反转，“黑暗之子”）为中心。
In 1968 the prevailing fashion again mutated, as mobs of unkempt students demonstrated, half-angrily, half-playfully, across the world against any symbol of the adult, established order, from the Vietnam war to their university curriculum. As they mouthed the slogans of Trotskyite revolution, decorated their rooms with iconic posters of the dead Cuban revolutionary Che Guevara and daubed walls with such graffiti as ‘make love, not war’, this coincided with the news from the USA of the assassinations of two more ‘sixties dream heroes’, Martin Luther King and President Kennedy’s younger brother Bobby. The following year in California, the story of one particularly dark quasi-religious cult ended in hideous catastrophe, when Charles Manson, leader of ‘The Family’, egged on his followers to an orgy of violence which led to the murder of the film actress Sharon Tate. By fearful symmetry, she was married to one of the decade’s most obsessive creators of the imagery of sex-and-violence, Roman Polanski, the director of Repulsion (1965) and Rosemary’s Baby (1966), centred on a pregnant young mother who gives birth to the devil (that ultimate inversion, the ‘Dark Child’).
随着这些世界变成噩梦的景象，20 世纪 60 年代的歇斯底里实际上已经失去了动力。从心理上来说，这是人类历史上最非同寻常的事件之一（或许只能与 1790 年代席卷法国的更为暴力的狂热相比）。但它留下的文化遗产，从音乐的节奏到对性乱的接受，从毒品的重要性到反建制、“左翼”对权威的态度的流行正统观念，一切都将被改变。未来几十年仍将是西方生活的核心。
With these visions of a world turned to nightmare, the great 1960s hysteria was in fact running out of steam. Psychologically it had been one of the most extraordinary episodes in the history of mankind (comparable perhaps only with the much more violent frenzy which gripped France in the 1790s). But the cultural legacy it left behind, in everything from the rhythmic beat of its music to the acceptance of sexual promiscuity, from the importance of drugs to the fashionable orthodoxy of an anti-establishment, ‘left-wing’ attitude to authority was going to remain at the heart of Western life for many decades to come.
接下来的十年就像 20 世纪 60 年代的过度行为的长期宿醉。那些年，大众神经症所释放出的自我毁灭力量，从詹尼斯·乔普林（Janis Joplin）、吉米·亨德里克斯（Jimi Hendrix）到埃尔维斯·普雷斯利（Elvis Presley）和约翰·列侬（John Lennon）等几位吸毒成瘾的梦想英雄的死亡中得到了体现。小明星不断涌现，满足了集体的年轻幻想。新电影，如《发条橙》、《稻草狗》、《巴黎最后的探戈》和《德州电锯杀人狂》电影的耸人听闻的效果加剧了人们对性和暴力形象的兴趣。但群体幻想如何继续发展的轮廓现在已经很明确了。在某些方面，20 世纪 70 年代出现了对前十年无情的新潮的反应，最明显的莫过于 20 世纪 60 年代狂妄自大的建筑革命所造成的对不人道环境的普遍厌恶。巨大的住宅区和混凝土塔楼曾如此有力地表达了六十年代的傲慢态度，现在人们普遍认为它们丑陋、没有灵魂，是一场社会灾难。许多电影和电视广告都反映了对现代之前的早期形象的感伤怀旧，当时的世界似乎更安静、更有序、更丰富多彩、更纯真。
The decade which followed was like a prolonged hangover from the excesses of the 1960s. The self-destructive power of the mass-neurosis unleashed in those years was reflected in the deaths of several of its drug-addicted dream heroes, from Janis Joplin and Jimi Hendrix to Elvis Presley and John Lennon. Lesser stars continued to emerge to feed the collective youthful fantasy. New films, such as A Clockwork Orange, Straw Dogs, Last Tango in Paris and The Texas Chainsaw Massacre ratcheted up the sensationalism with which the cinema fed the appetite for the imagery of sex and violence. But the outlines of how the group-fantasy continued to evolve were all by now well-established. And in some respects the 1970s saw a reaction to the relentless neophilia of the previous decade, nowhere more conspicuously than in the widespread revulsion against the inhuman environments created by the megalomaniac architectural revolution of the 1960s. The gargantuan housing estates and concrete tower blocks which had so powerfully expressed the hubris of the sixties now came widely to be seen as ugly, soulless and a social disaster. Many films and television commercials reflected a sentimental nostalgia for the imagery of earlier times, before the modern age, when the world had seemed quieter, more ordered, more colourful and more innocent.
这种对现代技术兴起之前的世界的怀旧情绪在 20 世纪 60 年代末已经得到了体现，人们对托尔金的《指环王》的兴趣显着复苏，因为它召唤出了一个以《指环王》为背景的整个伪神话世界。想象中的前机械时代，当时的战斗仍然是用剑、斧头、弓和箭进行的。Watership Down同样变成了该书是 20 世纪 70 年代的畅销书之一，它描绘了一个自然世界，在这个世界中，拟人化的动物可以被描绘成依赖人类的基本品质，而现代人类技术的创造——汽车、铁丝网、推土机——被视为怪物。和破坏性的入侵。即使在十年来最具未来感的科技奇幻作品之一《星球大战》中，虚构的硬件和令人眼花缭乱的特效也只是为这个本质上永恒的故事提供了外在的服装，在这个故事中，古老的骑士们为了拯救地球而进行了肉搏战。公主免遭监禁，王国免遭毁灭。
This nostalgia for the world as it had been before the rise of modern technology had already found expression in the late 1960s in the remarkable revival of interest in Tolkien’s The Lord of the Rings, for its conjuring up of an entire pseudo-mythic world set in an imaginary pre-mechanical age, when battles were still fought with swords and axes, bows and arrows. Watership Down similarly became one of the best-sellers of the 1970s by conjuring up a natural world in which anthropomorphic animals could be portrayed as relying on basic human qualities, and in which the creations of modern human technology – cars, barbed wire, bulldozers – were seen as monstrous and destructive intrusions. Even in one of the most futuristically technological fantasies of the decade, Star Wars, the make-believe hardware and dazzling special effects only provided the outward clothing for an essentially timeless story in which knights of old fought hand-to-hand duels to save the Princess from imprisonment and the kingdom from destruction.
技术进步的急速发展现在引发了一种反应——尽管它的起源再次出现在 20 世纪 60 年代——的另一个方面是，人们越来越意识到它代表了一种集体傲慢，有可能毁灭地球上的所有生命。20 世纪 70 年代，世界范围的环境运动日益突出，该运动形成了自己的“叙述”，其核心是人类对地球自然资源的不计后果的过度开发，以及因环境污染而造成的土地、海洋和空气日益严重的污染。他的物质自我放纵的废物。随着世界森林被毁，随着人类活动每年导致数以千计的其他物种灭绝，随着地球大气层（根据叙述）遭受潜在的灾难性化学变化，智人作为宇宙“巢中的杜鹃”：终极“怪物”。“洛基精神”的矛盾心理在医学知识和农业技术的巨大进步促进世界人口激增的过程中表现得最为明显。每当在自然界中观察到任何其他物种的数量呈指数增长时，这总是毁灭性的种群崩溃的前奏。
Another respect in which the headlong rush of technological advance was now inspiring a reaction – although again its origins first appeared in the 1960s – lay in the growing sense that it represented a collective hubris which was threatening to destroy all life on earth. Increasingly prominent in the 1970s was the worldwide environmental movement, which had developed its own ‘narrative’ centred on what it saw as man’s reckless over-exploitation of the earth’s natural resources and the ever-increasing pollution of land, sea and air caused by the waste products of his material self-indulgence. As the world’s forests were laid waste, as human activity led each year to the extinction of thousands of other species, as the earth’s atmosphere (according to the narrative) became subject to potentially disastrous chemical changes, humanity’s defiance of nature for its own egocentric advantage was casting Homo sapiens as a cosmic ‘cuckoo in the nest’: the ultimate ‘monster’. And nowhere was the ambivalence of ‘the spirit of Loki’ more obvious than in the way dramatic advances in medical knowledge and agricultural technology were helping to promote an explosion in the world’s human population. Whenever in nature such an exponential rise was observed in the numbers of any other species, this was invariably the prelude to a devastating population collapse.
没有哪一张照片比《地出》更能说明这一切，这是 1968 年第一批绕月飞行的人类在阿波罗 8 号任务中拍摄的照片，展示了地球从死气沉沉的月球景观上方升起的情景。在黑暗的太空中，漂浮着难以想象的美丽，是他们留下的世界的柔和蓝色图像：这个地方是他们自己的家园，也是每一种已知生命形式的家园；那里是他们的家园。他们身份的唯一真实来源；所有意义和存在的生命中心。在那个令人难忘的形象中，地球成为自我的象征。然而现在，通过同样超发达的意识，使智人这是他第一次走出大自然赋予他的地球范围，一道不断拉长的阴影延伸到所有那些脆弱的生态系统和自然平衡上，正是这些让这个星球上的生命得以生存。地球本身已经成为整体性的象征，人类的集体自我现在正面临着潜在的灾难性的反抗。
No single image did more to bring all this home than than ‘Earthrise’, the picture taken by the Apollo 8 mission in 1968 by the first men to orbit the moon, showing the Earth rising above the lifeless lunar landscape. There floating, unimaginably beautiful, in the blackness of space was the soft blue image of the world they had left: the place which was home to themselves and to every known form of life; the only true source of their identity; the living centre of all meaning and existence. In that unforgettable image Earth became a symbol of the Self. Yet now, through that same hyper-developed consciousness which had enabled Homo sapiens for the first time to step outside the confines of the Earth where nature had placed him, an ever-lengthening shadow was stretching across all those fragile ecosystems and natural balances which allowed life on that planet to survive. The Earth itself had become a symbol of that wholeness against which the collective ego of mankind was now in potentially catastrophic rebellion.
一方面，对这种觉醒认知的反应是一种世界末日般的感觉，除非人类采取最严厉的措施来改正其行为并抑制其物质欲望，否则地球上的生命注定会遭到毁灭。另一方面，没有任何迹象表明人类为减少对自然世界的掠夺而准备采取的措施只不过是感伤的姿态。“环保主义”因此成为“自我混乱”的另一种表达。少数敢于发声的人对此产生了强烈的自以为是的感觉“拯救地球”的需要；而人类作为一个整体（包括大多数潜在的地球拯救者本身）继续以前所未有的速度消耗和破坏其自然资源。
The response to this awakening perception was, on the one hand, an apocalyptic sense that, unless the human race took the most drastic steps to mend its ways and curb its material appetites, life on Earth must be doomed to destruction. On the other, there was no sign that the measures humanity was prepared to take to reduce its despoliation of the natural world were anything more than sentimental gestures. ‘Environmentalism’ thus became another expression of ‘ego-Self confusion’. A vocal minority worked up a tremendous sense of self-righteousness about the need to ‘save the planet’; while mankind as a whole (including most of the would-be planet-savers themselves) carried on consuming and destroying its natural resources at a greater rate than ever.
“母亲的年龄”
The ‘age of Mother’
20世纪50年代末后的二十年里，西方世界的统治意识发生了史无前例的转变。通过比较两部相隔二十年、但每一部都取材于同一事件（1912 年泰坦尼克号沉没）的英国电影，我们可以瞥见这一变化。
The two decades which followed the late 1950s had seen a shift in the ruling consciousness of the Western world which was without precedent. We can catch a little glimpse of this change in comparing two British films made twenty years apart but each based on the same event, the sinking of the Titanic in 1912.
难忘的一夜（1958），根据第二次世界大战及其后十年的主导价值观再现了这个熟悉的悲剧故事。影片将邮轮上的乘客展现为第一次世界大战前社会的缩影，分为乘坐头等舱豪华游轮的贵族和百万富翁的“上层世界”，以及乘坐统舱旅行的爱尔兰和工薪阶层移民。 。但当灾难袭来时，几乎每个人，无论“上层阶级”还是“下层阶级”，都被描绘成勇敢无私的表现，表现出战争年代人们所熟悉的“坚忍不拔”的勇气。船长和他的军官（由肯尼思·莫尔领导）扮演着积极的男性角色，只关心以光荣、人道的方式履行职责，
A Night to Remember (1958), recreated this familiar tragic story according to the values dominant during the Second World War and the decade which followed. The film showed the liner’s passengers as a microcosm of pre-First World War society, divided between an ‘upper world’ of aristocrats and millionaires travelling in first-class luxury and the Irish and working-class emigrants travelling ‘below the line’ in steerage. But when disaster strikes, almost everyone, ‘upper class’ and ‘lower ’ alike, is portrayed as acting bravely and unselfishly, displaying that ‘stiff upper lip’ courage still familiar from the war years. The ship’s captain and his officers (led by Kenneth More) are shown playing a positive masculine role, concerned only to do their duty in an honourable, humane fashion, just as their Second World War equivalents (also not infrequently played by Kenneth More) had been shown doing in so many other films of the 1950s.
二十年后，《SOS 泰坦尼克号》（1979）呈现出一幅截然不同的画面。游轮上的乘客不再被视为一个因共同危险而团结在一起的社区。居住在“线上”世界的特权上层阶级现在被讽刺为冷酷、被宠坏的利己主义者，只关心自救。船长和他的军官们表现得软弱且犹豫不决。现在唯一表现出温暖、人性和英勇的群体是那些被困在船舱“线下”的人，特别是爱尔兰人，他们被感情用事地描绘成无情的阶级制度和傲慢的英帝国主义注定的受害者。
Twenty years later, S.O.S. Titanic (1979) presented a startlingly different picture. No longer are the liner’s occupants seen as a single community, united by a common danger. The privileged upper classes inhabiting the ‘above the line’ world are now caricatured as cold, spoiled egotists, concerned only with saving themselves. The captain and his officers are shown as weak and vacillating. The only group now shown as warm, human and heroic are those trapped ‘below the line’ in the bowels of the ship, notably the Irish, sentimentally portrayed as doomed victims of a heartless class system and arrogant British imperialism.
同一故事的两个版本所反映的视角转变表明了当时流行的原型已经发生了多大的变化。直到 20 世纪 50 年代末，西方社会仍然成功地保留了与自我相对应的理想化整体形象。对此至关重要的是那些统治性的男性原则，即秩序、纪律和等级制度，这些原则典型地构成了“父亲的价值观”。传统上被认为对维持社会团结至关重要的机构和惯例总体上保持完好。“义务”、“责任”和“良好举止”等概念仍然很重要。社会秩序仍然建立在对“权威人物”的尊重之上：从父母到政治领袖，从教师到警察。
The shift of perspective reflected in these two versions of the same tale conveys how far the prevailing archetype of the time had changed. Up to the late 1950s Western society had still managed to preserve an idealised image of its own totality, corresponding to the Self. Vital to this had been those ruling masculine principles of order, discipline and hierarchy which archetypally constituted the ‘values of Father’. The institutions and conventions traditionally regarded as essential to holding society together had generally remained intact. Importance was still attached to such concepts as ‘duty’, ‘responsibility’ and ‘good manners’. The social order still rested on the respect accorded to ‘authority figures’: from parents to political leaders, from teachers to policemen. A framework of sanctions still existed to uphold sexual discipline and the central importance of marriage, from laws prohibiting homosexuality to social taboos on promiscuity and adultery.
20 世纪 50 年代末后社会发生的变化的一个更明显的特征是，所有这些都被拒绝了。所有与责任、纪律、等级制度、传统和权威相关的复杂的“男性”原则都被认为是压迫性的和否定生命的。新裁决意识是一种以牺牲“线上”价值观为代价来提升“线下”价值观的意识；青年人的特征优于成熟人的特征；解放胜过束缚；“下层阶级”高于“上层阶级”；未来胜过过去。这个时代的一个主导原型——以埃尔维斯·普雷斯利或披头士乐队等英雄人物为代表——成为了叛逆的永恒少年。，“男孩英雄”冻结在不成熟之中。人们不再理所当然地认为人类生活的最终目标是努力实现年龄的智慧。在不断变化的时代，重要的是保持与新事物的接触：渴望永远年轻的状态。而且，正如我们从故事中看到的那样，只要不成熟的“男孩英雄”原型方兴未艾，阉割的“黑暗母亲”原型就永远不会远离。
One of the more obvious features of the change which came over society after the late 1950s had been the extent to which all this was rejected. All that complex of ‘masculine’ principles associated with duty, discipline, hierarchy, tradition and authority came to be perceived as oppressive and life-denying. The new ruling consciousness was one which promoted ‘below the line’ values at the expense of those ‘above the line’; the attributes of youth over those of maturity; liberation over constraint; ‘lower class’ over ‘upper’; the future over the past. A dominant archetype of the age – personified in such hero-figures as Elvis Presley or the Beatles – became that of the rebellious puer aeternus, ‘the boy hero’ frozen in immaturity. No longer was it generally taken for granted that the ultimate goal of human life was to work towards the wisdom of age. What mattered in an age of incessant change was to remain in touch with the new: to aspire to a state of perpetual youth. And again, as we see from stories, wherever the archetype of the immature ‘boy hero’ is in the ascendant, never far away is the archetype of the emasculating ‘Dark Mother’.
当然，在 20 世纪 60 年代和 1970 年代发生的所有转变中，“父亲的价值观”在很多方面都被更自由、更宽容的“母亲”价值观所取代。这在各种表现中都有体现，尤其是在当时的政治领导人所表现出的品质上，因为战争塑造的主导人物，如丘吉尔、艾森豪威尔和戴高乐，让位给了新一代的政治家，他们似乎比较更柔和、更弱、更轻量，在新电视时代的典型特征更多地是对“形象”的自私关注，而不是性格的力量。
Certainly in all the transformation which had taken place in the 1960s and 1970s the ‘values of Father’ had in many ways been replaced by the more liberal, more indulgent values of ‘Mother’. This found every kind of expression, not least in the qualities shown by the political leaders of the time, as the dominant figures shaped by the war, such as Churchill, Eisenhower and de Gaulle, gave way to a new generation of politicians who seemed by comparison softer, weaker and more lightweight, typified in the new age of television more by a self-regarding concern with ‘image’ than by strength of character.
西方世界心理变化的背后最重要的是所有那些带来全新繁荣的技术进步的结果。正是这一点使其居民变成了“消费者”。正是这种提供一切的技术“机器”现在可以满足他们的每一种物质需求：从为他们提供冷冻、塑料包装食品的超市到为他们洗衣服的机器；从使他们保持温暖的暖气到载着他们到处走动的汽车和喷气式客机；从家中将夜晚变成白天的电灯，到催眠般的电视屏幕，他们现在通过电视屏幕获得大部分娱乐和世界观。
What more than anything else lay behind the psychological change which had come over the Western world was a consequence of all those technological advances which had brought an entirely new kind of prosperity. It was this which had turned its inhabitants into ‘consumers’. It was this all-providing technological ‘machine’ which could now gratify their every material need: from the supermarkets which provided their frozen, plastic-wrapped food to the machines which washed their clothes; from the heating which kept them warm to the cars and jet airliners which carried them about; from the blaze of electric light which turned night into day in their homes to the hypnotic presence of the television screen through which they now derived much of their entertainment and their picture of the world.
以前从未有过任何文明如此脱离自然。人类从来没有如此依赖于外部如此巨大和客观的东西来获得舒适，以至于他们可以在日常生活的大部分时间里生存而无需承担任何真正的直接责任（除了知道要按哪个按钮）。在没有意识到的情况下，他们正在被婴儿化，在心理上沦为一种孩子般的依赖于二十世纪末技术创造的“伟大母亲”的状态。不可避免的结果是，对自我满足的传统限制正受到前所未有的侵蚀。
Never before had any civilisation been so cocooned from nature. Never before had human beings been so dependent for their comfort on something so vast and impersonal outside themselves that they could survive through much of their everyday lives without having to take any real direct responsibility (other than knowing which buttons to press). Without being aware of it, they were being infantilised, reduced psychologically to a child-like state of dependence on that ‘Great Mother’ which had been called into being by late-twentieth-century technology. And an inevitable consequence was that the traditional constraints on the gratifications of the ego were being eroded as never before.
从表面上看，20 世纪 50 年代以来的主流情绪是一种解放情绪。对于大多数人来说，生活在很多方面都变得更加轻松，物质上更加舒适，道德上更加轻松，社会习俗的束缚更少。但在各个方面，这都伴随着社会的解体，这表现为犯罪率的飙升。家庭、社区和学校纪律的崩溃；沉迷于毒品和色情。其更显着的特征之一是故障率空前增加。婚姻和基本家庭单位自有记录以来一直是每个人类社会的基石。
On the surface, the prevailing mood of the years since the 1950s had been one of liberation. For most people, life had in so many ways become easier, materially more comfortable, morally more relaxed, less constrained by social conventions. But in all directions this was accompanied by a social disintegration which manifested itself in the soaring incidence of crime; in the breakdown of discipline in families, communities and schools; in addiction to drugs and pornography. One of its more conspicuous features was an unprecedented increase in the breakdown of marriages, and of that basic family unit which had been the bedrock of every human society since the dawn of recorded time.
另一种反映自我意识日益凸显的现象是对“名人”的崇拜。尽管这个过程早在二十世纪前几十年就已开始，尤其是随着第一批电影明星赢得了世界性的声誉，但曾经赋予皇室和社会责任领导地位的人的魅力和尊重现在越来越集中一个新的幻想“名人”社区，将演员、运动员、流行歌手和媒体创造的其他“人物”模糊在一起。尽管居住在这个虚幻泡沫中的人偶尔也包括政客，但根据定义，他们不对任何人负责。事实上，大多数人都是非常普通、肤浅的人，他们唯一能引起公众关注的就是他们出现在电视上，用丹尼尔·J·布尔斯汀的话来说，12
Another phenomenon reflecting the new prominence now given to the ego was the cult of ‘celebrity’. Athough this was a process which had begun in the earlier decades of the twentieth century, not least with the worldwide fame won by the first movie stars, the glamour and deference once attached to royalty and those occupying leading positions of responsibility in society now increasingly centred on a new fantasy-community of ‘celebrities’, blurring together actors, sportsmen, pop singers and other ‘personalities’ created by the media. Although those inhabiting this unreal bubble did occasionally include politicians, by definition they were responsible to no one. Most were in reality very ordinary, shallow individuals whose only claim on public attention was that they appeared on television, and, in the words of Daniel J. Boorstin, had become ‘famous for being famous’.12
20 世纪 70 年代末，作家汤姆·沃尔夫 (Tom Wolfe) 描写了当代美国的自我迷恋文化，沉迷于个人虚荣心，这种文化体现在从减肥和健身制度到自私的心理胡言乱语和伪灵性流行等方方面面，将这些年概括为“我的十年”。但没有人比 1974 年从苏联流亡后的俄罗斯作家亚历山大·索尔仁尼琴 (Alexander Solzhenitsyn) 对 20 世纪 50 年代以来西方文明所发生的事情更加质疑。
At the end of the 1970s, the writer Tom Wolfe, writing about the ego-obsessed culture of contemporary America, preoccupied by personal vanity, reflected in anything from slimming and physical fitness regimes to the vogues for self-regarding psychobabble and pseudo-spirituality, summed up these years as ‘The Me Decade’. But no one cast a more questioning eye on what had happened to Western civilisation since the 1950s than the Russian writer Alexander Solzhenitsyn, after his exile in 1974 from the Soviet Union.
1978 年，索尔仁尼琴对他抵达新家美国时所发现的文化作出了一个震惊的局外人的评价。13他的第一个惊讶是，他在那些被认为是社会领袖的人身上看到了缺乏“公民勇气”和道德品质：他们表现出温和的态度，并且倾向于只说人们可能想听的话。另一个问题是，在一个为公民提供一定程度的物质舒适的社会中，这在30年前似乎是不可想象的，这么多人看起来是多么紧张和不快乐。第三个是现在强调人们的“权利”，而不是他们的义务和义务。第四个因素是自称“自由”的西方媒体无情的琐碎和墨守成规，这在他从每个公共言论都受国家控制的暴政中走出来时最让他震惊。
In 1978 Solzhenitsyn delivered the verdict of a shocked outsider on the culture he had found on arriving in his new home, America.13 His first surprise was the lack of ‘civil courage’ and moral character he saw in those who were supposed to be society’s leaders: their air of weak geniality and a tendency to say only what people might want to hear. Another, in a society which gave its citizens a degree of material comfort which 30 years earlier would have seemed inconceivable, was how strained and unhappy so many people looked. A third was the emphasis now placed on people’s ‘rights’, rather than their duties and obligations. A fourth, which shocked him as much as anything on his emergence from a tyranny where every public word was controlled by the state, was the relentless triviality and conformism of the supposedly ‘free’ Western media.
索尔仁尼琴描绘的社会是一个由被宠坏的孩子组成的社会，他们陷入盲目的利己主义之中。他说，他不能再推荐西方生活方式作为他逃离的俄罗斯转型的典范。他接着说，“经过巨大的苦难，我们的国家现在已经取得了如此强烈的精神发展，以至于西方体系在目前的精神疲惫状态下显得格外没有吸引力。” “一个无可争议的事实是，人类在西方正在衰弱，而在东方却变得更加坚定和强大……生命的复杂性和凡人的重量产生了比标准化西方所产生的更强、更深刻、更有趣的性格。福利'。
The picture Solzhenitsyn painted was of a society of spoiled children, sunk in mindless egotism. No longer, he said, could he recommend the western way of life as a model for the transformation of the Russia he had escaped from. ‘Through intense suffering’ he went on, ‘our country has now achieved a spiritual development of such intensity that the western system in its present state of spiritual exhaustion’ looked singularly unattractive. ‘A fact which cannot be disputed is the weakening of human beings in the west, while in the east they are becoming firmer and stronger ... life’s complexity and mortal weight have produced stronger, deeper and more interesting characters than those generated by standardised western well-being’.
在索尔仁尼琴讲话时，共产主义帝国似乎比以往任何时候都更有能力挑战美国的霸权。共产主义帝国在 20 世纪 70 年代又占领了非洲和亚洲的 10 个国家，这是自 20 世纪 40 年代末以来的最大进步。他继续说道：
At the time Solzhenitysn was speaking, it seemed as though the empire of Communism, which in the 1970s had taken over ten more countries in Africa and Asia, its greatest advance since the late 1940s, was better placed to challenge American hegemony than ever before. As if desperate to provoke some response in the complacency of his audience, he went on:
“历史向受到威胁或正在灭亡的社会发出了有意义的警告。例如，艺术的颓废或伟大政治家的缺乏。也有公开且明显的警告。你们的民主和文化中心仅在几个小时内断电，突然间美国公民开始抢劫并制造严重破坏……为我们的星球而战，无论是物质上还是精神上，这是一场宇宙规模的战斗，未来并不是一个模糊的问题。它已经开始了。邪恶势力已经开始了决定性的进攻，你能感受到他们的压力，但你的屏幕和出版物上却充满了规定的微笑和举起的眼镜。快乐是什么？
‘There are meaningful warnings which history gives to a threatened or perishing society. Such as, for instance, the decadence of art or the lack of great statesmen. There are open and evident warnings too. The centre of your democracy and your culture is left without electric power for a few hours only, and all of a sudden American citizens start looting and creating havoc ... The fight for our planet, physical and spiritual, a fight of cosmic proportions, is not a vague matter of the future. It has already started. The forces of evil have begun their decisive offensive, you can feel their pressure, and yet your screens and publications are full of prescribed smiles and raised glasses. What is the joy about?’
索尔仁尼琴的评论可能提醒我们，对于生活在全球大部分地区的人们来说，过去 30 年的经历是非常不同的。
Solzhenitsyn’s comments might have acted as a reminder that, for the people living over a large part of the globe, the experience of the previous 30 years had been very different.
自我的再现（二）
The re-emergence of the Self (II)
“西方人缺乏痛苦的经历，无法想象悲剧。”
‘The lack of bitter experience of people in the west makes them incapable of imagining tragedy.’
弗拉基米尔·布科夫斯基，BBC 电视台，1980 年
Vladimir Bukovsky, BBC TV, 1980
到20世纪70年代末，超过四分之一的人类已经在第二次世界大战后的几十年里生活在黑暗的暴政之下，其程度几乎超出了西方人的理解。到 1953 年斯大林去世时，他已经对多达 2000 万本国人民的死亡负有责任。还有数百万人在“古拉格群岛”的奴隶营中勉强生存。在中国，毛泽东的独裁统治于1949年建立了恐怖统治，在接下来的三十年里，恐怖统治将导致数千万人丧生。
By the end of the 1970s, more than a quarter of mankind had spent the decades since the Second World War living under the tyranny of darkness to a degree which was almost beyond the comprehension of people living in the West. By the time of Stalin’s death in 1953, he had already been responsible for the deaths of anything up to 20 million of his own people. Millions more were barely surviving in the slave camps of ‘the Gulag archipelago’. In China Mao-tse-Tung’s dictatorship had in 1949 established the terror which over the next three decades would kill tens of millions more.
乔治·奥威尔是少数几个早期对共产主义下的生活现实有直观理解的西方人之一，他的《十九八十四》（1949）生动地反映了这种所谓的理想主义体系在实践中是如何运作的。特别是，他以无处不在的“老大哥”形象、不断的谎言宣传、“两分钟仇恨”、“思想犯罪”和“新话”为中心，描绘了“党”的极权统治。这样的政权如何建立了自我的完全黑暗反转？以及它的中心目标是如何剥夺人民的个性或内心生活的权利。正如奥威尔在压垮他的英雄中所表明的那样，每个公民都必须被迫屈服于集体意识以及党所创造的集体自我的投射。
One of the few westerners who had early developed an intuitive understanding of the realities of life under Communism was George Orwell, whose Nineteen Eighty Four (1949) held up such a vivid mirror to how such a supposedly idealistic system worked in practice. In particular, with his picture of the totalitarian rule of ‘the Party’, centred on the ubiquitous image of ‘Big Brother’, the incessant lying propaganda, the ‘two-minute hate’, ‘thoughtcrime’ and ‘newspeak’, he showed how such a regime set up a complete dark inversion of the Self; and how its central aim was to deny its people any right to individuality or an inner life. As Orwell showed in the crushing of his hero, each citizen had to be forced into subjection to the collective consciousness and to that projection of the collectivised Self the Party had created.
然而，在20世纪50年代末，一本偷运到西方的小说表明，在苏联铁板一块的宣传表面背后，仍然存在着有内心生活、能够独立思考的人。鲍里斯·帕斯捷尔纳克的《日瓦戈医生》 （1958）之所以如此具有颠覆性，以至于苏联当局立即镇压，是因为它回顾了革命年代的俄罗斯1917 年左右，不是按照规定的党的路线，而是通过严格非意识形态英雄的私生活和苦难。
In the closing years of the 1950s, however, a novel smuggled to the West showed that, behind the monolithic propaganda surface of the Soviet Union, there were still individuals with an inner life, capable of thinking for themselves. What made Boris Pasternak’s Dr Zhivago (1958) so subversive that the Soviet authorities immediately suppressed it was that it looked back to the Russia of the revolutionary years around 1917, not according to the prescribed Party line, but through the private life and sufferings of its strictly non-ideological hero.
从本质上讲，尤里·日瓦戈的故事是一个正派、聪明、精神敏感的人的故事，他的外在和内在生活都被革命的混乱摧毁了。在此之前，他是一位有前途的年轻中产阶级医生，按惯例已婚，有一个小儿子。他被征召入伍，随后遇见并爱上了迷人的劳拉。日瓦戈回到莫斯科的家人身边，但当他们撤退到乡下时，他再次遇到了拉拉，他们开始了一段外遇，他最终中断并向妻子承认了这一点。然后他被征召入伍，在俄罗斯内战中与共产党游击队一起服役，之后他又恢复了与劳拉的恋情。尽管时间匮乏，他们还是一起度过了快乐的几个月，但最终，为了挽救她的生命，他欺骗她在保护下逃到俄罗斯更安全的地方。他的妻子和孩子现已流亡海外失踪。尤里回到莫斯科，在那里他开始与第三个女人住在一起，并与她生了两个孩子。两个男性朋友告诉他，他必须在新情妇和妻子之间做出选择。在革命后莫斯科的苦难和寒冷中，他很幸运地找到了一份卑微的工作。在上班途中，他因心脏病发作倒在街上去世。在他的葬礼上，劳拉出现了，神秘地询问尤里同父异母的兄弟是否有办法找到一个被送给陌生人的孩子。她失踪了，据说最终死于奴隶营（来自 他又与他生了两个孩子。两个男性朋友告诉他，他必须在新情妇和妻子之间做出选择。在革命后莫斯科的苦难和寒冷中，他很幸运地找到了一份卑微的工作。在上班途中，他因心脏病发作倒在街上去世。在他的葬礼上，劳拉出现了，神秘地询问尤里同父异母的兄弟是否有办法找到一个被送给陌生人的孩子。她失踪了，据说最终死于奴隶营（来自 他又与他生了两个孩子。两个男性朋友告诉他，他必须在新情妇和妻子之间做出选择。在革命后莫斯科的苦难和寒冷中，他很幸运地找到了一份卑微的工作。在上班途中，他因心脏病发作倒在街上去世。在他的葬礼上，劳拉出现了，神秘地询问尤里同父异母的兄弟是否有办法找到一个被送给陌生人的孩子。她失踪了，据说最终死于奴隶营（来自 神秘地询问尤里同父异母的兄弟是否有办法找到一个被送给陌生人的孩子。她失踪了，据说最终死于奴隶营（来自 神秘地询问尤里同父异母的兄弟是否有办法找到一个被送给陌生人的孩子。她失踪了，据说最终死于奴隶营（来自日瓦戈博士认为西方读者首先了解到“古拉格”这个词）。日瓦戈的两个朋友在第二次世界大战期间在军队服役，在古拉格度过了数年之后，遇到了洗衣女坦尼娅，她向他们讲述了她可怕的人生故事。她小时候被母亲遗弃，后来卷入了一场令人毛骨悚然的暴力事件，她被抛弃在这个世界上，没有家人、朋友或支持。根据她的证据，他们猜测她一定是尤里和劳拉的女儿，并采取措施使她的生活现在可以得到适度改善。
Stripped to its essence, the story of Yuri Zhivago was that of a decent, intelligent, spiritually-sensitive man whose outer and inner life had been destroyed by the chaos of the revolution. Before it, he had been a promising young middle-class doctor, conventionally married, with a small son. Called up into the army, he then meets and falls in love with the bewitching Lara. Zhivago returns to his family in Moscow, but when they retreat to the country he again meets Lara and they begin an affair, which he eventually breaks off and admits to his wife. He is then conscripted to serve with Communist partisans in Russia’s civil war, after which he resumes his affair with Lara. Despite the deprivations of the time, they spend several happy months together but eventually, to save her life, he tricks her into fleeing under protection to a safer part of Russia. His wife and child have by now disappeared into exile abroad. Yuri returns to Moscow, where he begins living with a third woman, by whom he has two more children. Two male friends tell him he must choose between his new mistress and his wife. Amid the miseries and cold of post-revolutionary Moscow he is lucky to get a menial job. On his way to start work he collapses in the street with a heart attack and dies. At his funeral Lara turns up, mysteriously asking Yuri’s half-brother if there is any way to track down a child who has been given away to strangers. She disappears, and is supposed eventually to have died in a slave-camp (it was from Dr Zhivago that Western readers first learned the word ‘Gulag’). Serving in the army in World War Two, after themselves spending years in the Gulag, Zhivago’s two friends meet a laundry-girl, Tanya, who tells them her horrendous life story. Abandoned by her mother as a child, and after then becoming involved in an episode of chilling violence, she had been cast out on the world without family, friends or support. From her evidence they guess she must be the daughter of Yuri and Lara, and arrange measures whereby her life may now modestly improve.
从典型的角度来看，这个悲惨故事的重要意义在于它展示了俄罗斯革命和内战是英雄崩溃的原因。他的婚姻幸福美满，有一个儿子，但当他被难以捉摸的阿尼玛形象劳拉迷惑时，他首先感到内疚。他试图以负责任的方式回到妻子身边，但随后又被迷住了。他再次试图表现得无私，将劳拉送到安全的地方，但这让他感到不快乐、困惑和孤独，他与第三个女人在一起，并为他生了孩子。他的朋友们要求他解决因他的阿尼玛现在分裂成三部分而带来的危机。象征性地，他的心脏在压力下屈服了。他的阿尼玛的真正载体她在他的葬礼上神秘地重新出现，却又陷入了无意识状态，在那里她被无产阶级国家的新暴政压垮了。多年后，我们留下了坦尼娅的形象，一个悲剧性的、孤儿的动物形象，她是他们爱情的唯一遗物——尽管最后的情感转折给这个故事带来了一些积极结局的痕迹。
In archetypal terms, what was significant about this bleak tale was the way it showed Russia’s revolution and civil war as the cause of the hero’s disintegration. From being happily married, with a son, he is first guiltily divided when he becomes bewitched by the elusive anima-figure of Lara. He attempts to behave responsibly by returning to his wife, but is then bewitched again. He again attempts to behave selflessly by sending Lara to safety, but when this leaves him unhappy, confused and alone, he takes up with a third woman, by whom he has children. His friends confront him with the need to resolve the crisis brought on by how his anima is now split three ways. Symbolically, his heart gives way under the strain. The real carrier of his anima mysteriously rematerialises at his funeral, only to slip back into the unconscious, where she is crushed by the new tyranny of the proletarian state. We are left years later with the image of Tanya, the tragic, orphaned anima-figure who is the sole relic of their love – although a final sentimental twist gives the tale some vestige of a positive ending.
几十年后，人们似乎很难回想起为什么这本小说的出版在西方引起了如此大的轰动（后来它成为了更加感伤的电影版本的基础），更不用说为什么它似乎提出了如此大的挑战苏联体制立即遭到镇压。但是，随着 20 世纪 50 年代中期古拉格群岛释放了数百万斯大林囚犯，以及赫鲁晓夫在 1956 年共产党代表大会上对斯大林暴政的秘密攻击，写出这样一本私人书籍的事实本身就标志着一个微弱但看似无所不能的共产主义巨石上出现了明显的裂痕。
Decades later, it may seem hard to recall why the publication of this novel created such a stir in the West (where it later became the basis of an even more sentimentalised film version), let alone why it seemed to pose such a challenge to the Soviet system that it was instantly suppressed. But, along with the release of millions of Stalin’s prisoners from the Gulag archipelago in the mid-1950s and Khruschev’s secret attack on Stalin’s tyranny at the 1956 Communist Party Congress, the very fact that such a private book could have been written marked a faint but striking crack in the seemingly all-powerful Communist monolith.
五年后又发生了一次，赫鲁晓夫允许出版《伊万·杰尼索维奇一生中的一天》（1962），这是斯大林时代后从苏联劳改营释放的数百万捷克人或囚犯中的第一个故事。解冻'。从表面上看，索尔仁尼琴的中篇小说只是一个小故事，仅仅描述了一个无名的泽克人生活中的一天。英雄一大早就在自己的铺位上醒来，浑身冰冷、病重且极度痛苦。我们跟随他度过了地狱般的一天，当他为墙砌砖时，他受到警卫的欺负。渐渐地，他的情绪发生了变化。他发现自己对自己砌砖的整洁感到高兴。他忘记了自己的病。晚上，一个泽克同胞给了他一块香肠。当他准备睡觉时，他感到出奇的满足。他经历了某种重生。在内心深处，他以自己微小的方式战胜了体制。
Five years later came another, when Khruschev permitted the publication of One Day in the Life of Ivan Denisovich (1962), the first story by one of those millions of zeks or prisoners who had been released from Soviet labour camps in the post-Stalin ‘thaw’. On the face of it, Solzhenitysn’s novella was a slight tale, merely describing a single day in the life of an anonymous zek. The hero wakes up in his bunk early in the morning, freezing, ill and utterly miserable. We follow him into a hellish day, being bullied by guards, as he works at laying bricks for a wall. Gradually his mood changes. He finds himself taking pleasure in the neatness with which he is laying his bricks. He forgets his illness. In the evening a fellow zek gives him a fragment of sausage. By the time he is ready for sleep, he is surprisingly content. He has been through a kind of Rebirth. Inwardly, in his own tiny way, he has triumphed over the system.
这个故事的出版所掀起的浪潮是如此强大，使索尔仁尼琴成为了苏联体制不希望他成为的一切，作为他自己的人，他是一个无情的强硬和虔诚的宗教徒，在接下来的几年里，通过更多的书籍走私出去到了西方，包括 1974 年的古拉格群岛，他将自己确立为俄罗斯蓬勃发展的“异见”运动的核心灵感来源。他和其他勇敢的人，比如核物理学家安德烈·萨哈罗夫，现在已经准备好正面挑战这个体系及其所有谎言。
So powerfully did the waves which flowed from the publication of this story establish Solzhenitsyn as everything the Soviet system did not want him to be, as his own man, implacably tough and devoutly religious, that over the next few years, through further books smuggled out to the West, including in 1974 The Gulag Archipelago, he established himself as the central inspiration for Russia’s burgeoning ‘dissident’ movement. He and other brave individuals, such as the nuclear physicist Andrei Sakharov, were now ready to challenge the system and all its lies head on.
20 世纪 60 年代和 1970 年代共产主义帝国所发生的事情与 1940 年英国所发生的事情有着令人好奇的相似之处。几十年来，苏联极权主义制度的力量成功地压垮了其臣民，使其屈服，事实上，它构成了这种极端的心理极端现在正在激起同等而相反的反应。现在到处都有个人出现，对他们来说，它的力量正在将他们的人类和精神能量集中到它的对立面。面对“黑暗自我”的集体向外投射，他们发现了自己内心的“光明自我”的力量。正是那些在致力于消除人类个性的制度统治下的社会，最终产生了一些当代的杰出人物，这成为这段历史的悖论之一。其中最重要的是波兰主教卡罗尔·沃蒂拉（Karol Woityla），他的信仰和品格是在反对纳粹和共产主义政权的过程中形成的。他于 1978 年晋升为教皇，并于次年首次凯旋返回祖国，极大地激发了 1980 年对波兰共产党政府的英勇抵抗，最终在导致整个苏联体系垮台的过程中发挥了关键的象征作用。他们的信仰和品格是在反对纳粹和共产主义政权的过程中形成的；他于 1978 年晋升为教皇，并于次年首次凯旋返回祖国，极大地激发了 1980 年对波兰共产党政府的英勇抵抗，最终在导致整个苏联体系垮台的过程中发挥了关键的象征作用。他们的信仰和品格是在反对纳粹和共产主义政权的过程中形成的；他于 1978 年晋升为教皇，并于次年首次凯旋返回祖国，极大地激发了 1980 年对波兰共产党政府的英勇抵抗，最终在导致整个苏联体系垮台的过程中发挥了关键的象征作用。
What was happening in the Communist empire in the 1960s and 1970s offered a curious parallel to what had happened to Britain in 1940. After decades when the force of the Soviet totalitarian system had succeeded in crushing its subjects into submission, the very fact that it constituted such an extreme psychological pole was now provoking an equal and opposite reaction. Here and there individuals were now appearing for whom its very power was concentrating their human and spiritual energies into its opposite. Confronted by this collectivised outward projection of the ‘dark Self’, they were discovering the power of the ‘light Self’ within themselves. It became one of the paradoxes of this period of history that it was those societies governed by a system dedicated to eradicating human individuality which ended up by producing some of the outstanding individuals of the age. Not least among them was the Polish bishop, Karol Woityla, whose faith and character had been forged in opposition to both Nazi and Communist regimes; and whose elevation to the Papacy in 1978 and first triumphant return to his homeland the following year did much to inspire that heroic resistance to Poland’s Communist government in 1980 which would eventually play a key symbolic part in bringing about the downfall of the entire Soviet system.
尤金妮娅·金斯伯格 (Eugenia Ginsburg) 的自传是共产主义末期写成的最杰出的著作之一，该书被偷运到西方，于 20 世纪 60 年代和 1970 年代分两卷出版，分别为《走进旋风》和《旋风之中》。尽管她的书以事实为基础，但金斯伯格的故事读起来却充满了小说的所有想象力。她描述了 20 世纪 30 年代，她是苏维埃省会省会一位党要官员的妻子，享受着“上层”的特权生活。1937 年，像许多其他人一样，她和她的丈夫在斯大林的第一次大清洗中被秘密警察逮捕。她发现自己消失在苏联社会的底层，进入其庞大监狱系统恶臭、暴力的地下世界。她书中的大部分内容描述了她在这个暮色世界中所遭受的可怕痛苦，受到内务人民委员部卡夫卡式的审讯和一段时间的单独监禁，最终在苏联远东冰冷的荒原上建立了一系列地狱般的奴隶营。
One of the most remarkable books written in the twilight years of Communism was the autobiography of Eugenia Ginsburg, smuggled out to the West to be published in two volumes in the 1960s and 1970s as Into the Whirlwind and Within the Whirlwind. Although her book was based on fact, Ginsburg’s story reads with all the imaginative power of a novel. She described how, in the 1930s, she had been the wife of a leading Party official in a provincial Soviet capital, enjoying a privileged life ‘above the line’. In 1937, like so many others, she and her husband were arrested by the secret police in the first of Stalin’s great purges. She found herself disappearing through the floor of Soviet society into the foetid, violent underworld of its vast prison system. Much of her book described the horrendous sufferings she endured in this twilight world, subjected to Kafkaesque interrogations by the NKVD and spells of solitary confinement, ending eventually in a hellish succession of slave camps in the icy wastes of the Soviet Far East.
她的书之所以与众不同，是因为我们看到她的经历变成了一次内心的旅程，因为她发展了一种理解力，使她能够立即捕捉到她遇到的每个人的人性本质。就像在虚构的故事中一样，我们可以立即看出她遇到的每个新角色是“黑暗”还是“光明”：狡猾、欺凌和以自我为中心，还是诚实、善良和无私。当故事接近尾声时，她与一位狱友、一位德国医生一起工作，这位医生是一位道德巨人，坚强、富有同情心、睿智，受到周围所有人的尊敬。两人分开了，但当他们再次相遇时，当他们在狂风大雪中走向对方时，我们立刻知道，他们彼此相爱，不会再分开。
What makes her book exceptional is the way we see her experience turning into an inner journey, as she develops the kind of understanding which enables her immediately to capture the human essence of each person she meets. Just as in a fictional story, we can see at once whether each new character she meets is ‘dark’ or ‘light’: devious, bullying and ego-centred, or honest, goodhearted and selfless. As the story nears its end, she comes to work with a fellow-prisoner, a German doctor, who shines out as a moral giant, strong, compassionate, wise and revered by all around him. The two are separated, but when they meet again we at once know, as they walk towards each other through a raging blizzard, that they love each other and are not going to be parted again.
这个令人难忘的场景与《第三人》结尾的场景形成鲜明对比，在那里，不理解的英雄看到了安娜的难以捉摸的阿尼玛形象，在寒冷的墓地里穿过落叶向他走来，然后径直从他身边走过，看也不看。在金斯伯格的版本中，男女主人公因痛苦而涤荡了自私，最终在两个已经长大的人的完整、成熟的爱情中结合在一起。由于她的丈夫早已在古拉格群岛的另一个岛屿上去世，她和她的英雄可以结婚了，故事以真正的解放基调结束，他们在俄罗斯灰色的后斯大林主义世界中快乐地重获了有限的自由。 20世纪50年代中期。
This memorable scene is like a positive opposite to that which ends The Third Man, where the uncomprehending hero sees the elusive anima-figure of Anna walking towards him through falling leaves in the wintry cemetery, then straight past him without a look. In Ginsburg’s version the hero and heroine, purged of egotism by their suffering, are finally united in the complete, mature love of two people who have grown up. Since her husband has long since died on some other island of the Gulag archipelago, she and her hero can marry, and the story ends on a true note of liberation as they joyfully regain their limited freedom in the grey post-Stalinist world of Russia in the mid-1950s.
正如在 20 世纪 60 年代和 1970 年代苏维埃帝国的黑暗中诞生的其他书籍和小说一样，从这个故事的精神深度中，我们可以看出为什么当索尔仁尼琴于 1974 年被苏联政权流放时，他他对西方的发现感到震惊：《发条橙》、《巴黎最后的探戈》和《德州电锯杀人狂》的世界，其中“黑暗反转”似乎已经接管了故事讲述和其他许多事情。
In the spiritual depth of this story, as in other books and novels which emerged from the darkness of the Soviet empire in the 1960s and 1970s, we see something of why, when Solzhenitsyn was sent into exile by the Soviet regime in 1974, he was so startled by what he found in the West: the world of A Clockwork Orange, Last Tango in Paris and The Texas Chainsaw Massacre, in which the ‘dark inversion’ appeared to have taken over storytelling and much else besides.
自我的重新出现（二）：1980年以后
The re-emergence of the ego (II): 1980 onwards
到二十世纪最后几十年，西方故事讲述在很多方面反映了人类正在走向的心理暮色，但也许最明显的是许多电影制片人、剧作家和小说家对意象的持续痴迷性和暴力。从心理学上来说，正如我们所看到的，这是 200 年前开始的这一过程的自然结果，当时故事开始通过自我折射，并在幻想而不是想象的层面上构思。
By the closing decades of the twentieth century, there were many respects in which Western storytelling reflected the psychological twilight into which mankind had been heading, but perhaps the most obvious was the continuing obsession of so many film-makers, playwrights and novelists with the imagery of sex and violence. Psychologically, as we have seen, this was the natural outcome of that process which had begun 200 years earlier when stories began to be refracted through the ego and conceived on the level of fantasy rather than imagination.
两个世纪或更长时间以来，随着西方文明的意识不断远离与自然的统一，其中心趋势已经发生了变化。一直在强化人类心灵中那些与自我认同的“男性”身体和心理方面，而牺牲了无私情感和直觉理解的“女性”本能。这一进步的所有重点都是扩大人类对自然的控制，并通过人类心灵的秩序功能更好地理解自然的运作方式。这样做所产生的最明显的回报是使部分人类（但绝不是全部）能够享受物质上舒适的生活，满足其每一个身体需求。
For two centuries or more, as the consciousness of Western civilisation had continued to travel ever further from unity with nature, its central tendency had been to reinforce those ‘masculine’ physical and mental aspects of the human psyche which are identified with the ego, at the expense of the ‘feminine’ instincts of selfless feeling and intuitive understanding. All the emphasis of this advance had been on extending man’s command over nature and to achieve an ever greater understanding of how it worked through the ordering function of the human mind. The most obvious prize this had yielded was to enable part of the human race (but by no means all) to enjoy a materially comfortable existence, catering for its every physical need. But part of the price paid for this one-sidedness had been to cut people off from those deeper ‘feminine’ instincts which can give them the sense of belonging to something larger and more significant than themselves – as could still be seen among those less ‘developed’ peoples of the world who continued to live physically taxing but dignified and uncomplaining lives much closer to nature.
发达国家人们如何寻求对世界运作方式的理解也存在类似的局限性。几个世纪以来，西方文明越来越多地寻求将此类解释建立在人类思维的分析功能之上，据说这种分析功能可以为每个问题提供客观的“科学”答案。这创造了关于生命和宇宙运作的物理机制的令人印象深刻的知识集合。但以一种具有统一意义的方式将所有这些知识整合在一起变得越来越困难。人类的心灵越关注存在的物质细节，就越脱离心灵的深层，而只有心灵才能为人类提供真正的意义和目的感。
A similar limitation could be seen in how people in the developed world looked for their understanding of how the world worked. For centuries Western civilisation had increasingly sought to rest such explanations on that analytical function of the human mind which could supposedly provide objective, ‘scientific’ answers to every question. This had created a hugely impressive assemblage of knowledge of the physical mechanisms whereby life and the universe operated. But it had become ever harder to hold all this knowledge together in a way which gave any sense of unified meaning. The more the human mind focused on the material details of existence, the more detached it became from those deeper levels of the psyche which alone can provide it with a real sense of meaning and purpose. Yet it is from precisely those deeper levels of the psyche that our archetypal urge to imagine stories originates, and it is only when human beings can make contact with them that they can reach proper maturity.
这与二十世纪最后几十年讲故事所反映的另一个重大发展有着深远的相关性：两性之间的关系以及男女之间的关系正在发生变化，以实现自身性别属性的内部平衡。西方人现在在实现心理成熟方面遇到困难，不可避免的必然结果是，男性倾向于变得更加柔和、不那么明显的男性气概，而对女性的影响则相反。
This had profound relevance to another significant development mirrored by storytelling in the closing decades of the twentieth century: the change which was now coming over the relationship between the sexes and the relationship of men and women to the internal balance of their own gender attributes. An inevitable corollary of the difficulty people in the West were now finding in achieving psychological maturity was the tendency for men to become softer and less overtly masculine, while the effect on women was the opposite.
自 20 世纪 60 年代末以来，随着“妇女解放”运动的兴起，女性新的自信变得尤为明显。与二十世纪生活的许多其他特征一样，这种趋势在第一次世界大战前的几年里，随着妇女选举权运动的兴起而首次出现。在此之前，在早期“女权主义者”的著作中，例如玛丽·伍尔斯通克拉夫特，当时正值法国大革命和浪漫主义的黎明时期，发生了精神剧变。但 20 世纪 60 年代和 1970 年代的新女权主义者比以往任何时候都更加激进，他们认为女性在一个由男性主导的世界中只是被压迫的受害者，在精神和社会上被视为低等，只不过是“性对象”和奴隶。他们不加区别地将“黑暗男性气质”的原型投射到男性身上。将男人视为完全以自我为中心的人，要么是恃强凌弱的暴君，要么是麻木不仁、不成熟的“小男孩”，或者两者兼而有之。
The new assertiveness of women became particularly obvious from the late 1960s onwards, with the rise of the ‘Women’s Lib’ movement. Like so many other features of twentieth-century life, this tendency had first begun to appear in the years before the First World War, with the campaign for women’s suffrage; and before that in the writings of the early ‘feminists’, such as Mary Woolstonecraft, at the time of that psychic upheaval which had coincided with the French Revolution and the dawn of Romanticism. But much more aggressively than ever before, the new feminists of the 1960s and 1970s could see women only as oppressed victims, in a world dominated by men, treated as mentally and socially inferior, as little more than ‘sex objects’ and slaves. They indiscriminately projected onto the male sex the archetype of the ‘dark masculine’; seeing men as wholly egocentric, either as bullying Tyrants or as insensitive, immature ‘little boys’, or both.
与早期的表现相比，新女权主义更关心的不是宣扬“女性气质”的重要性，而是相反。它鄙视感觉和直觉的“女性”价值观。其核心动力是展示女性在男性方面与男性平等。尽管女权主义者蔑视男性和“父亲的价值观”，但她们已经被阿尼姆斯所主导：女性心灵中的男性成分，可以赋予她心理平衡所必需的力量和理性智慧，但如果它被允许凌驾于她的女性气质之上，使她变得消极、冷酷和好斗。14
Even more than in its earlier manifestations, the new feminism was concerned not with promoting the importance of ‘femininity’ but the reverse. It despised the ‘feminine’ values of feeling and intuition. Its central drive was to show women as equal to men in masculine terms. Despite their contempt for men and for the ‘values of Father’, the feminists had become dominated by the animus: that masculine component in a woman’s psyche which can give her the strength and rational intelligence which is necessary for psychological balance, but which, if it is allowed to override her femininity, renders her negative, hard and combative.14
消极敌意的占有绝不是一种新现象。2000多年前，阿里斯托芬在他的《Thesmophoriazusae》中描绘了这一点，描绘了一群雅典妇女被集体的负面敌意驱使，希望杀死欧里庇得斯，因为他在戏剧中对女性的表现不屑一顾。莎士比亚在《驯悍记》中对它进行了令人难忘的描绘多年来，在许多其他故事中都有描绘，展示了一个泼妇必须被“驯服”才能重新接触到她的女性气质。它在二十世纪末的表现形式的新颖之处在于它现在被当时的统治意识所采用的规模。女性为了自己的性别而表现得如此自我中心的想法从未如此被接受。
In no sense was possession by the negative animus a new phenomenon. More than 2000 years earlier it had been portrayed by Aristophanes in his Thesmophoriazusae, showing the pack of Athenian women driven by their collective negative animus into wishing to kill Euripides for the dismissive way in which he presented women in his plays. It was memorably depicted by Shakespeare in The Taming of the Shrew and had been portrayed in many other stories down the ages, showing a virago having to be ‘tamed’ back into contact with her femininity. What that was new about its late-twentieth-century manifestation was the scale on which it was now becoming adopted by the ruling consciousness of the time. Never before had the idea of women behaving so egocentrically on behalf of their sex become so acceptable.
这种新的女性自信确实产生了相当大的心理讽刺。女权主义者特别不满的是男性在权力和政治世界中的主导程度。然而，当1979年英国成为第一个选举女性担任首相的大国时，女权主义者感到震惊。除了性别之外，在所有方面，他们都认为玛格丽特·撒切尔代表了他们所憎恶的一切。
This new female assertiveness did produce one episode of considerable psychological irony. A particular grievance of the feminists was the extent to which men dominated the world of power and politics. Yet when, in 1979, Britain became the first major country to elect a woman as its prime minister, the feminists were appalled. In all respects but her gender, they saw Margaret Thatcher as representing everything they abhorred.
撒切尔夫人作为领导人的重要性在于，在男性政治家逐渐失去男子气概的时代，她比她周围的任何男性都更有效地代表政治中的男性品质（正如我们从故事中看到的那样，当英雄软弱时） ，往往可以落在女主角身上来补充他所缺乏的男性力量）。凭借她坚强的性格和坚定的原则，她反对依赖国家的“伟大母亲”以及她对个人自力更生的信念，她比任何其他人都更能代表“父亲的价值观”她这一代的政治家。这反映在她的左翼对手认为她“无情”的恶毒以及她对苏联共产党的反对上，后者最初给她起了“铁娘子”的绰号。这一点在她夺回福克兰群岛时所扮演的男性角色中得到了淋漓尽致的体现，这是英国自第二次世界大战以来最成功的军事行动。
Mrs Thatcher’s significance as a leader was that, at a time when male politicians had been losing their masculinity, she stood for masculine qualities in politics more effectively than any of the men around her (as we have seen from stories, when the hero is weak, it can often fall to the heroine to supply the masculine strength he lacks). With her strength of character and firmness of principle, her opposition to dependence on the ‘Great Mother’ of the state and her belief in individual self-reliance, she stood for the ‘values of Father’ more than any other politician of her generation. This was reflected in the virulence with which her left-wing opponents saw her as ‘heartless’ and in her opposition to the Soviet Communists, who first nicknamed her ‘the Iron Lady’. It was seen supremely in the masculine role she played in taking back the Falklands, the most successful military operation Britain had mounted since World War Two.
1981 年，撒切尔夫人与罗纳德·里根总统一起倡导“父亲的价值观”，里根总统在 20 世纪 40 年代和 1950 年代首次因在好莱坞电影中扮演“男性”角色而声名鹊起（因此，他是历史上第一位拥有“父亲价值观”的主要政治人物）。他的职业生涯始于扮演虚构故事中的角色）。他们在 20 世纪 80 年代的伙伴关系尤其是因为他们反对苏联共产主义的“邪恶帝国”，而现在苏联共产主义正面临着内部矛盾的压力，以至于到了 20 世纪 80 年代末，它正在分崩离析。撒切尔夫人作为世界领导人的最后一举就是表现出男性决心，说服里根的继任者布什总统部署压倒性的军事力量来对付典型的“怪物人物”和暴君萨达姆·侯赛因。
In 1981 Thatcher was joined in championing the ‘values of Father’ by President Ronald Reagan, who had first won fame in the 1940s and 1950s by playing ‘masculine’ roles in Hollywood films (he was thus the first major political figure in history to have founded his career on acting out characters in fictional stories). Their partnership through the 1980s was defined not least by their opposition to the ‘evil empire’ of Soviet Communism, now under such pressure from its internal contradictions that by the end of the decade it was disintegrating. Almost Mrs Thatcher’s last act as a world leader was to supply the masculine resolve which persuaded Reagan’s successor President Bush to deploy overwhelming military force against that archetypal ‘monster-figure’ and tyrant Saddam Hussein.
随着她的离开，西方政坛又回到了 20 世纪 90 年代“妈妈的儿子们”的主导地位，这些第一代领导人在成年后受到 20 世纪 60 年代末和 1970 年代盛行价值观的影响。明显缺乏任何坚定的道德“中心”，虚荣、滥交的克林顿总统以及后来的托尼·布莱尔这样的永恒少年人物就是典型的例子，他和他之前的任何政治家一样，依赖于塑造自己的幻想形象。与现实没有多大关系。
With her departure, Western politics settled back to their domination in the 1990s by ‘mother’s boys’, the first generation of leaders whose coming to adulthood had been shaped by the values prevailing in the late 1960s and 1970s. Conspicuously lacking in any firm moral ‘centre’, these were exemplified by the vain, promiscuous President Clinton, and later by the puer aeternus figure of Tony Blair who, as much as any politician before him, relied on projecting a fantasy-image of himself which bore scant relation to reality.
男性的“女性化”和女性的“男性化”已经成为以“政治正确”的名义席卷西方世界的新正统意识形态的核心特征。从心理学的角度来看，这是一种“左翼”现象，也是二十世纪最引人注目的发展之一。曾经与更清教徒形式的宗教和更极端的社会主义形式联系在一起的那种自以为是的不宽容现在再次出现，以促进妇女、同性恋者、少数族裔、残疾人和任何可以被描绘的群体的“权利”被认为是“线下”，因此受到歧视。与此密切相关的是新的社会压力，要求“母国”的权力被用来进行监管，以保护其公民免受任何可以想象的风险，无论风险是多么想象。这种新的世俗清教主义本质的关键在于它在其追随者中所激发的自以为是的膨胀程度。像他们的宗教和政治先驱一样，他们提出了“自我混乱”的经典研究。他们无意识地认为自己是以无私的道德原则的名义行事，这只是他们维护自我的外衣，也是享受道德优越感的一种手段。在“宽容”和促进集体“权利”的事业中，他们陷入了狂热和毫无幽默感的不宽容之中。他们无意识地认为自己是以无私的道德原则的名义行事，这只是他们维护自我的外衣，也是享受道德优越感的一种手段。在“宽容”和促进集体“权利”的事业中，他们陷入了狂热和毫无幽默感的不宽容之中。他们无意识地认为自己是以无私的道德原则的名义行事，这只是他们维护自我的外衣，也是享受道德优越感的一种手段。在“宽容”和促进集体“权利”的事业中，他们陷入了狂热和毫无幽默感的不宽容之中。15
The ‘feminisation’ of men and the ‘masculinisation’ of women had already become a central feature of that new ideological orthodoxy which was sweeping the Western world under the name of ‘political correctness’. In psychological terms, this was a ‘left-wing’ phenomenon and one of the most remarkable developments of the twentieth century. The kind of self-righteous intolerance once associated with the more puritanical forms of religion and the more extreme forms of Socialism now reappeared to promote the ‘rights’ of women, homosexuals, racial minorities, the disabled and any group of people who could be portrayed as being ‘below the line’ and therefore discriminated against. Closely allied to this was the new social pressure for the power of ‘Mother State’ to be used to regulate to protect its citizens from any conceivable risk, however imaginary. The key to the nature of this new secular puritanism was the degree of self-righteous inflation it inspired in its adherents. Like their religious and political forerunners they presented a classic study in ‘ego-Self confusion’. Unconsciously they were using the belief that they were acting in the name of selfless moral principle simply as a cloak for asserting their ego, and as a means to enjoy feelings of moral superiority. In the cause of ‘toleration’ and promoting collective ‘rights’, they had become possessed by a fanatical and humourless intolerance.15
政治正确性如此深入地渗透到了那个时代的风气中，以至于它不可避免地在讲故事中得到了体现，最明显的就是扭转自文明诞生以来故事所特有的“性别刻板印象”的冲动。正如我们所看到的，一个早期的例子是科幻恐怖电影《异形》（ Alien，1979），这是一部经典的《战胜怪物》故事，其中杀死怪物的英雄的典型男性角色被故意赋予了一个强有力的女主角，代表着“新的”女士'。随后还有许多其他的例子，尤其是《终结者》（1984）中女主角扮演的怪物杀手角色。
So deeply did political correctness permeate the ethos of the time that it inevitably found reflection in storytelling, in no respect more obviously than the urge to reverse what became known as the ‘gender stereotyping’ which had characterised stories since the dawn of civilisation. An early example, as we saw, was the science-fiction horror film Alien (1979), a classic Overcoming the Monster story in which the archetypally masculine role of the monster-slaying hero was deliberately given to a forceful heroine, representing the ‘new woman’. Many other examples were to follow, not least in the role of monster-slayer played by the heroine in The Terminator (1984).
然而，显而易见的是，反抗原型的无意识牵引并不容易。例如，我们看到，在《沉默的羔羊》（1991）中，当令人厌恶的黑暗但极其迷人和聪明的男性恶棍的力量最终出现时，将典型英雄角色赋予“新女性”的尝试被巧妙地破坏了。事实证明对她来说太过分了。她最终被骗了，让他逃脱了。《本能》（ Basic Instinct，1991）将性倒错发挥到了极致，塑造了一个完全黑暗、充满负面敌意的女主角。，他成功地掌握并愚弄了不合格的英雄。但即便如此，影片还是如此无情地试图颠倒原型，以至于制片人无法完全将其颠倒的逻辑推向完整的结论，从而使结局显得模棱两可。
As became evident, however, to defy the unconscious pull of the archetypes is not easy. We saw, for instance, how in The Silence Of The Lambs (1991), the attempt to give the archetypal hero-role to a ‘new woman’ was subtly undermined when the power of the repulsively dark but devilishly charming and clever male villain eventually proved too much for her. She ended up being outwitted and allowing him to escape. Basic Instinct (1991) carried the sexual inversion to its ultimate, by featuring a wholly dark heroine, possessed by her negative animus, who succeeds in mastering and making a fool of the inadequate hero. But even here, so remorselessly did the film attempt to turn the archetypes upside down, that its makers could not quite bring themselves to press their inverted logic to its full conclusion, leaving the ending tellingly ambiguous.
同样揭示了原型的潜在力量的是这一时期一些更受欢迎的电影成功挑战时代新正统观念的方式。例如，《鳄鱼邓迪》（Crocodile Dundee，1986 年）和《托马斯皇冠事件》（The Thomas Crown Affair ，1968 年，新版 1999 年）都以女主人公为主角，她是新的、自信的“后女权主义”职业女性的典范。但在每个故事中，英雄都成功地展示了“男性”性格力量与“女性”情商的巧妙结合，最终证明这足以将女英雄从敌意的令人窒息的束缚中解放出来。她压抑的女性气质被赋予了生命，男女主角在一个典型的幸福结局中结合在一起。
Equally revealing of the underlying power of the archetypes was the way some of the more popular films of this period managed to challenge the new orthodoxy of the times head on. Crocodile Dundee (1986) and The Thomas Crown Affair (1968, new version 1999), for instance, each featured a heroine who was a model of the new, assertive ‘post-feminist’ career woman. But in each story the hero manages to display such a masterful combination of ‘masculine’ strength of character with ‘feminine’ emotional intelligence that this eventually proves enough to free the heroine from the stifling grip of her animus. Her suppressed femininity is brought to life, and hero and heroine are united in an archetypal happy ending.
讲故事如何反映当时心理暮色的另一个方面是二十世纪下半叶“肥皂剧”的异常流行，这种简单、轻松的戏剧定期在广播或电视上播出，描绘了“肥皂剧”社区的日常生活。普通人。从 20 世纪 60 年代起，从《我爱露西》到《达拉斯》再到《老友记》，从《加冕街》和《东区人》到《邻居们》，没有哪一种电视娱乐节目能吸引更多或更多忠实的追随者。
Another aspect of how storytelling reflected the psychological twilight of the time was the extraordinary popularity in the second half of the twentieth century of the ‘soap opera’, simple, untaxing dramas regularly broadcast on radio or television portraying the everyday lives of a community of ‘ordinary’ people. From the 1960s onwards, no form of television entertainment attracted a larger or more devoted following, from I Love Lucy through Dallas to Friends, from Coronation Street and Eastenders to Neighbours.
肥皂剧最明显的特点就是它像精神毒品一样利用故事的力量，让观众上瘾，通过感伤的情感来让他们着迷。肥皂剧利用了讲故事的所有基本原型材料，将其简化为机械公式，旨在设置连续不断的挑逗或扣人心弦的悬念。男孩遇见女孩。男孩背叛了女孩。他们能弥补吗？意图做出不良行为的人会寻求欺骗。人因自己的欺骗而被揭穿。他会逃脱惩罚吗？肥皂剧中的每一个场景不仅都是刻板的，其表达的语言也是如此。除了陈词滥调之外，没有一个角色会说话。在现实生活中，“普通”人经常使用意想不到的东西或古怪的措辞。在肥皂剧中，他们从来不会说任何之前没有说过一百万次的话。但就情节而言，肥皂剧最显着的特征是它们的故事永远不会真正解决。创造它们的工业过程的目的是产生一连串的情感悬念，让观众继续关注接下来会发生什么——而任何正确故事的原型目的都是它最终必须达到一个目标。全面的高潮，随之而来的是一个解决了之前发生的一切的结论。16
The most obvious feature of the soap opera was the way it used the power of stories like a mental drug, addicting its audiences and keeping them hooked by playing sentimentally on their emotions. Soap operas exploited all the basic archetypal material of storytelling by reducing it to a mechanical formula, designed to set up a continual stream of teasing or heart-tugging suspense. Boy meets girl. Boy betrays girl. Can they make it up? Man intent on behaving badly seeks to deceive. Man is caught out in his deception. Will he get away with it? Not only is every situation in a soap opera stereotyped, so is the language in which it is couched. No character ever speaks except in clichés. In real life ‘ordinary’ people often use unexpected or quirky turns of phrase. In a soap opera they never say anything which has not been said a million times before. But in plot terms the most significant characteristic of soap operas is that their stories never truly resolve. The aim of the industrial process which creates them is to produce an unending succession of emotional cliff-hangers, to keep the audience switching on to see what happens next – whereas the archetypal purpose of any proper story is that it must eventually work up to a full-scale climax, followed by a conclusion which resolves everything that has gone before.16
与肥皂剧相关的是，尽管其结构不那么机械，但它更明显的是情景喜剧，通常以一个特定家庭或一小群人的生活为中心，这些人由于某种原因而紧密地聚集在一起。20世纪80年代末对美国电视上最受欢迎的25部以家庭生活为中心的情景喜剧进行的一项研究发现，在其中24部喜剧中，家庭中最聪明、最懂事的成员是母亲，其次是她的孩子，最愚蠢、最容易做出愚蠢行为的家庭成员是父亲。
Related to the soap opera, although less mechanical in its construction, was its more obviously episodic counterpart, the situation comedy, usually centred on the life of a particular family or a small group of people who had for some reason been brought intimately together. A study carried out in the late 1980s of the 25 most popular situation comedies on American television which centred on the life of a family found that in 24 of them the most intelligent and sensible member of the family was the mother, followed by her children, The stupidest family member, most prone to act foolishly, was the father.
十九世纪末，美国电视台制作的最受欢迎的卡通情景喜剧《辛普森一家》中也体现了这一点，其中父亲荷马的自欺欺人的计划使他成为永远的替罪羊。愚蠢地跟随他的是他的儿子巴特，他聪明的妹妹丽莎更加活跃（有时甚至是他吮吸奶嘴的小妹妹玛吉）。长期受苦受难的家庭母亲玛姬总是被认为是最明智的。但如果认为这些特征仅仅反映了后女权主义的政治正确性，那就错了。用原型术语来说，《辛普森一家》再传统不过了。痴迷于自欺欺人的父亲的角色，作为被迷惑的统治意识的代表，一直是喜剧的基础，这可以追溯到阿里斯托芬时代。儿子巴特，代表了以自我为中心的男子气概的盲目性的较小版本。家庭中的女性成员代表了更广泛的“女性”视野，我们总是在来自“线下”的故事中看到这种视野，尤其以聪明的女儿/公主为中心（例如，《冬天的故事》或《费加罗的婚礼》）还有被欺骗但情感明智的母亲/王后。17 号
At the end of the century this was echoed in the most popular cartoon sitcom ever produced by American television, The Simpsons, where the self-deluding schemes of the father, Homer, made him the perpetual fall-guy. He was followed in stupidity by his son Bart, whose bright younger sister Lisa was so much more on the ball (as even, on occasion, was his dummy-sucking baby sister Maggie). The long-suffering mother of the family, Marge, was invariably shown as most sensible of all. But it would be a mistake to see these characterisations as simply reflecting post-feminist political correctness. In archetypal terms, The Simpsons could scarcely have been more traditional. The role of the obsessively self-deceiving father, as a representation of the deluded ruling consciousness, has been basic to Comedy back to the time of Aristophanes, The son, Bart, represented a lesser version of the blindness of ego-centred masculinity. The female members of the family represented that wider ‘feminine’ vision which we invariably see in stories emanating from ‘below the line’, centred particularly (as in, say, A Winter’s Tale or The Marriage of Figaro) on the bright Daughter/Princess and the put-upon but emotionally wise Mother/Queen.17
在这方面，《辛普森一家》在讲故事传统的主流中占有一席之地，这一传统可以追溯到超过两千多年。年。但事实上，数以百万计的观看该剧的人中可能没有一个人意识到这一点（有人怀疑，比其作者更多），这一事实本身就衡量了人类被携带的过程是多么无意识。伴随着一个故事。我们可以遵循同一原型情节的数百个不同版本，每个版本都反映了我们自己的心理运作方式的一些深刻意义。然而，我们如此着迷于讲故事的魔力，以至于我们甚至没有注意到从根本上来说他们都在告诉我们同一个故事。
In this respect The Simpsons took its place in the mainstream of a tradition of storytelling which could be traced back through more than two and a half thousand years. But the very fact that probably not one of the countless millions of people watching the series were aware of this (any more, one suspects, than were its authors) was in itself a measure of just how unconscious is the process whereby human beings are carried along by a story. We can follow hundreds of different versions of the same archetypal plot, each reflecting something profoundly significant about how our own psyche works. Yet so beguiled are we by the magic of storytelling that we do not even notice that fundamentally they are all telling us the same story.
如果人类意识的进化确实与更清晰地理解我们和世界如何运作有关，那么也许我们应该开始认识到我们每个人所拥有的这种惊人能力的真正意义是什么：这个神秘的事物如此接近于我们的内心深处。我们根本不认为这是一个谜。
If the evolution of human consciousness is really concerned with developing a clearer understanding of how we and the world work, perhaps the time has come when we should begin to appreciate what this astonishing faculty we each possess is really about: this mystery so close beneath our noses that we do not even recognise it to be a mystery at all.
人类的故事
The story of mankind
2000 年伊始，几乎全人类都在庆祝新千年的开始，这一事实本身就是对故事力量的致敬。尽管从统计数据来看，基督教仍然是世界主要宗教，但它曾经对主要欧洲“基督教世界”居民的个人和集体生活所施加的压倒性统治地位已经远远落后。对于二十一世纪初欧洲的大多数人来说，他们仍然最接近遵守基督教仪式的是庆祝圣诞节所扮演的持续的、很大程度上世俗化的角色（尽管这也反映了对人类想象力的原型控制）故事）。正如老子所说，当失去“正”时，
The fact that, as the year 2000 began, almost the entire human race celebrated the start of a new millennium, was itself a tribute to the power of a story. Even though Christianity was still, statistically, the world’s leading religion, it had retreated a long way from the overwhelming dominance it once exercised over the individual and collective life of the inhabitants of a mainly European ‘Christendom’. For most people in the Europe of the early twenty-first century, the nearest they still came to observing Christian rituals was the continuing, largely secularised role played by the celebration of Christmas (although this too reflected the archetypal hold over the human imagination of a story). As Lao Tsu had put it, when ‘rectitude’ was lost, all that was left were those outward ‘rites’ which mark ‘the wearing thin of loyalty and good faith and the beginning of disorder’.
然而，撇开宗教本身不谈，在世界各地，旨在将人类与自我观念结合起来的传统信仰和象征框架，长期以来一直在对抗世俗主义的前进力量，其主要的心理影响是提升自我的力量和影响力。然而与此同时，即使是世界上那些从未以基督教为主的地区也加入了庆祝新千年的到来这一事实，反映出近年来人类世界似乎正在以惊人的速度萎缩。技术创新将它们前所未有地结合在一起。现在，实体旅行的速度和便利性的提高不仅使人们能够以前所未有的数量在全球范围内流动。更引人注目的是卫星通信、全球电视报道和互联网将其转变为马歇尔·麦克卢汉所说的“电子村”。比以往任何时候都更加明显的是，整个人类现在都卷入了同一个共同的故事。
Quite apart from religion itself, however, all across the world the traditional frameworks of belief and symbolism designed to integrate human beings with the idea of the Self had long been in retreat against the advancing forces of secularism, the primary psychological effect of which was to promote the power and influence of the ego. Yet at the same time, the very fact that even those parts of the world which had never been predominantly Christian joined in marking the onset of the new millennium reflected the extraordinary speed with which in recent years the human world had seemed to shrink. What had brought it together as never before were the innovations in technology. Not only had the increased speed and ease of physical travel now made it possible for people to move around the globe in unprecedented numbers. Even more dramatic was the way in which satellite communications, global television coverage and the Internet had transformed it into what Marshall McLuhan called ‘the electronic village’. Much more obviously than ever before, the entire human race was now involved in the same common story.
随着二十一世纪的开始，我们可以通过三种特殊的方式挑选出从故事的角度看待生活的冲动，这可能有助于揭示人类现在所处的状态。
As the twenty-first century began, three particular ways could be singled out in which the urge to see life in terms of stories might help to shed light on the state in which mankind now found itself.
首先，再次感谢技术，故事现在比历史上任何时候都更容易获取。其中一种更为突出的形式是尽管人们通常不这么认为，但“新闻”却前所未有地普遍存在。人们从来没有被如此多的“故事”轰炸过，这些故事反映了全球各地上演的人类生活的日常戏剧。但显然，世界上实际发生的事情中只有极小一部分才被认为值得被视为“新闻”。值得注意的是，许多被认为适合这种处理的内容——政治戏剧、悲惨事故、犯罪、名人的作为和不当行为——现在都通过现代媒体带来的新的亲密关系来呈现，就好像它是一部一种连续的肥皂剧。而其背后的价值观与决定虚构肥皂剧内容的价值观非常相似。成为“新闻”的不是生活中的例行事件，而是任何扰乱人类世界秩序的不寻常事件；任何让人联想到冲突、纷争、暴力或反常现象的事物，正如报纸头条中那些熟悉的致死触发词所反映的那样，如“危机”、“风暴”、“争吵”、“裂痕”、“震惊”、 “恐怖”、“镇压”、“闪电战”、“重磅炸弹”。就像肥皂剧一样，总有一些情节能够触动公众的情感：相爱的男人和女人；婴儿出生；英雄主义行为。但从本质上讲，“新闻”的目的是通过引发一系列令人兴奋的心理感觉来吸引人们的幻想，就像虚构故事一样。而且，就像他们虚构的对手一样，
The first was that, thanks again to technology, stories were now more freely accessible than ever before in history. One of the more prominent forms this took, although not normally recognised as such, was the unprecedented ubiquity of ‘news’. Never had people been bombarded with such a plethora of ‘stories’, reflecting the daily drama of human life as it unfolded in all parts of the globe. But obviously only the tiniest fraction of what was actually going on in the world was deemed worthy to be considered as ‘news’. It was noticeable how much of what was considered appropriate for this treatment – political dramas, tragic accidents, the committing of crimes, the doings and misdoings of celebrities – was now presented through the new intimacy made possible by the modern media as if it were a kind of continuous soap opera. And the values which lay behind this were much the same as those which determined the contents of fictional soap operas. What made ‘news’ were not the routine events of life but anything unusual which disturbed the order of the human world; anything which conjured up images of conflict, dissension, violence or abnormality, as was reflected in those familiar trigger words done to death in newspaper headlines such as ‘crisis’, ‘storm’, ‘row’, ‘rift’, ‘shock’, ‘horror’, ‘crackdown’, ‘blitz’, ‘bombshell’. Just as in a soap opera, there would always be room for episodes which played sentimentally on the public’s emotions: a man and woman in love; the birth of a baby; an act of heroism. But essentially the purpose of ‘news’ was to appeal to the fantasy-level of the mind, in much the same way as a fictional story might do, by setting off a stream of titillatory mental sensations. And, just as in their fictional counterpart, this was most effectively achieved by conjuring up almost any image which represented some assertion of the ego which violated the totality of the Self.
不可避免地，当时的许多虚构故事都反映了相同的价值观，以及当代世界所有基于自我的痴迷、困惑和不成熟。但值得注意的是，尽管人们现在的外在生活发生了巨大的变化，但吸引他们注意力的故事的基本模式与那些曾经吸引他们注意力的故事的基本模式在很大程度上是一样的。他们的祖先被迷惑了数千年。
Inevitably many of the fictional stories of the time reflected the same values, and with them all the ego-based obsessions, confusions and immaturities of the contemporary world. But what might have been thought remarkable was the degree to which, despite all the shattering changes which had taken place in how people now led their outward lives, the underlying patterns of the tales which held their attention were much the same as those which had held their ancestors spellbound for thousands of years.
例如，没有什么比现在数百万人可以在电脑屏幕上玩的“互动”游戏更现代的了。然而，其中许多所采取的形式实在是太熟悉了。玩家会认同一个“英雄”（或超级女权主义女英雄，如劳拉·克劳馥），然后他或她必须克服巨龙和超级恶棍，冒险执行复杂的任务，或穿过一些危险的道路。迷宫，以达到游戏的最终目标 - 这很可能是将公主（或人类）从怪物的魔掌中解放出来。
Nothing might have seemed more peculiarly modern, for instance, than the ‘interactive’ games millions were now able to play on their computer screens. Yet the form many of these took was only too familiar. The player would identify with a ‘hero’ (or a super-feminist heroine, such as Lara Croft), through whom he or she would then have to overcome dragons and super-villains, venture on complex quests or thread the way through some treacherous labyrinth, in order to reach the ultimate goal of the game – which might well be the need to free a Princess (or mankind) from the clutches of a Monster.
在新世纪之交的几年里，一位靠收入维持生计的单亲母亲开始潦草地写出一系列故事，引起了世界各地数百万读者和电影观众的共鸣，以至于在不到十年的时间里，他们使他们的女作家 JK 罗琳成为英国最富有的女性之一。然而，随着巫师与魔法、巨魔、战胜怪物、任务、光明战胜黑暗以及看似平凡的小英雄变得非凡的结合，《哈利·波特》故事的基本象征意义再次为人们所熟知。
In the years around the turn of the new millennium a series of stories which had begun being scribbled out by a single mother living on income support struck such a chord with millions of readers and cinemagoers across the world that, within less than a decade, they had made their authoress J. K. Rowling one of the richest women in Britain. Yet with their combination of wizards and magic, trolls, overcoming monsters, quests, light triumphing over darkness and a seemingly ordinary little hero turning out to be extraordinary, the essential symbolism of the Harry Potter stories was again entirely familiar.
其中最引人注目的是 2001 年至 2003 年三部曲电影版《指环王》的影响，这种现象在电影史上从未有过。
Most remarkable of all was the impact between 2001 and 2003 of the three-part film version of The Lord of the Rings, a phenomenon which had no real parallel in the history of the cinema.
这部电影诞生的环境本身是前所未有的。半个世纪后，生活在世界另一端新西兰的年轻电影导演彼得·杰克逊(Peter Jackson)拍摄了一个最初由牛津大学文学教授创作的故事，并变成了一个涉及数千名艺术家、工匠的项目。以及来自不同国家的技术人员。将他们所有的技能融合在一起，创作出人类想象力的如此不朽的作品，这一任务不禁让人想起建造一座伟大的中世纪大教堂时的团队合作。
The circumstances in which this film came about were themselves unprecedented. A story originally created by an Oxford professor of literature was taken on half a century later by a young film director, Peter Jackson, living in New Zealand at the other end of the world, and turned into a project involving literally thousands of artists, craftsmen and technicians from different nations. The task of welding all their skills together to produce such a monumental work of the human imagination was not unreminiscent of the teamwork which had gone into building a great mediaeval cathedral.
如果没有最新计算机技术的技巧， 《指环王》三部曲就不可能诞生，从数千名参与者的令人惊叹的战斗场景到令人难忘的变形小生物咕噜的形象。然而，故事的实际内容比《哈利·波特》系列电影更具有永恒的原型。
The Lord of the Rings trilogy could not have been created without the tricks of the latest computer technology, from its breathtaking battle scenes featuring thousands of participants to the haunting visualisation of the deformed little creature Gollum. Yet, even more than in the Harry Potter films, the actual contents of the story could not have been more timelessly archetypal.
对于那些被《指环王》迷住的人（当然也有那些没有被指环王迷住的人）来说，杰克逊的电影版本只是强化了这样一种感觉，即这个故事及其所有史诗般的宏伟主题都发生在广阔的神话景观中，是按照一定的规模铸造的，这在某种程度上使其与其他产品区分开来。但其吸引力的真正原因在于，它深深地汲取了自故事诞生以来所有讲故事的源泉。
For those who fell under the spell of The Lord of the Rings (and of course there were those who did not), Jackson’s film version only reinforced the sense that this story, with all the epic grandeur of its theme set in a vast mythic landscape, was cast on a scale which somehow set it apart from any other. But the real reason for the power of its appeal was that it drew so deeply on the wellsprings of all that storytelling has been about ever since stories were first told.
正如我们在《指环王》第十九章中看到的那样这是罕见的故事之一，其篇幅足够大，可以同时包含讲故事的所有七个基本情节。它以可以想象到的最宇宙化的方式呈现了黑暗与光明之间的核心战斗。佛罗多的追求是一场象征性的斗争，目的是摆脱自我的迷惑力量。在故事的中心，我们看到了一枚完美的金戒指，看起来那么小，那么有吸引力，那么无害。然而，通过它可以召唤索伦所有巨大的、阴暗的力量，索伦是世界上所有邪恶的最终代表：黑暗、毁灭和死亡的带来者。我们只看到索伦在他骄傲的塔顶上有一只巨大的、燃烧的眼睛，象征着人类自我的单眼狭隘视野。在他的统治下，可以派遣庞大的畸形人类怪物军团来对抗正派、光荣、充满爱心的人类的脆弱力量，
As we saw in Chapter 19, The Lord of the Rings is one of those rare stories big enough to incorporate all the seven basic plots of storytelling at once. It presents the central battle between darkness and light in the most cosmic way imaginable. Frodo’s quest is a symbolic struggle to get rid of the beguiling power of the ego. At the heart of the story we see a perfect golden ring, seemingly so small, so attractive, so harmless. Yet through it can be summoned up all the immense, shadowy power of Sauron, the ultimate representative of all that is evil in the world: the bringer of darkness, destruction and death. We see Sauron only as one enormous, burning eye, at the top of his proud tower, symbolising the single-eyed tunnel-vision of the human ego. Under his sway, vast regimented legions of deformed human monsters can be launched against the frail forces of decent, honourable, loving humanity, destroying the ordered peace of their homes and communities, putting innocents to the sword, just as the world has seen so often through history, and never more than in the twentieth century.
在他旅程的早期阶段，弗罗多拥有忠诚的同伴以及智者甘道夫和阿尼玛·凯兰崔尔的指导，他们代表了人类精神成熟的力量，这必须激励他前进。在故事的最后阶段，只有忠实的山姆陪伴，但现在也受到咕噜的追随，代表着一个人不可挽回地陷入自我控制的强迫性内心状态，弗罗多体现了人类为摆脱自我中心而奋斗的所有孤独感。 。然而，正是他和山姆在为他们的宇宙、超越自我的事业服务时如此无私，才使他们最终实现了目标。
In the earlier stages of his journey, Frodo has loyal companions and the guidance of the Wise Old Man Gandalf and the Anima Galadriel, between them representing that power of spiritual human maturity which must inspire him on his way. In its closing stages, accompanied only by the faithful Sam, but now dogged also by Gollum, representing the obsessive inner state of someone who has fallen irreparably into the grip of the ego, Frodo personifies all the loneliness of humanity’s struggle to be free of egocentricity. Yet it is the very fact that he and Sam are so selfless in serving their cosmic, ego-transcending cause which enables them in the end to reach their goal.
佛罗多的任务越接近终点，他的故事就越与一个同样永恒的故事相似：一个男人在长期流亡海外后，终于准备好夺取他的王国。就像奥德修斯一样，阿拉贡从世界各地的长期流浪中归来，从篡夺它的骗子手中夺回他的王国。只有当他证明自己已经准备好并值得时，他才会展现出王者的威严，与女性的“另一半”结合在一起，使他变得完整。阿拉贡的故事是关于每个人的故事，在他因灵魂的内在王国受到不充分的统治而迷失多年后，终于在《王者归来》中准备好达到成熟的状态，这意味着他知道他是谁。
The nearer Frodo gets to the end of his Quest, the more his story is paralleled by the equally timeless story of a man who, after long exile from his home, is at last ready to claim his kingdom. Like Odysseus, Aragorn is returning from long wanderings through the world, to seize back his kingdom from the impostors who have usurped it. Only when he has proved himself ready and worthy will he emerge in all his kingly majesty, to be brought together with the feminine ‘other half’ who will make him whole. Aragorn’s story is that of every man who, after years when he has been lost because the inner kingdom of his soul has been under inadequate rule, is finally ready, in The Return of the King, to reach that state of maturity which means that he knows who he is.
在最后一集中，两部戏剧重合。只有当弗罗多成功地摧毁了自我的内心戏剧时，笼罩在世界上的黑暗阴影才最终被驱散。光和生命在各个方向回归。在外部舞台上，阿拉贡现在可以继承他的王国，娶他的公主，并与自己和世界合一。正如之前的许多其他故事一样，我们再次看到它象征着一个人对黑暗力量的每一次胜利如何在某种程度上具有宇宙意义。正如一位老越南人对《卫报》记者所说的那样，当时他的国家正在 20 世纪 60 年代末难以想象的地狱般的战争中四分五裂：
In this final episode the two dramas coincide. Only when Frodo has succeeded in the inner drama of destroying the ego, is the darkness which has cast its shadow over the world finally dispelled. In all directions, light and life return. On the outward stage Aragorn can now succeed to his kingdom, marry his Princess and become at one with himself and the world. And again we see it symbolised, as in so many other stories before, how each victory by one individual over the power of darkness can somehow take on a cosmic significance. As an old Vietnamese put it to a Guardian journalist, when his country was being torn apart by the unimaginable hell of war in the late 1960s:
'人类是一体的。我们每个人都应对他的个人行为以及他对人类其他人的行为负责。我们能做的就是阻止我们自己的品牌被大火烧毁。把它拉回来，不要增加火焰。
‘Humanity is one. Each of us is responsible for his personal actions and his actions towards the rest of humanity. All we can do is hold back our own brand from the fire. Pull it back, do not add to the flame.’
当人群在二十一世纪初观看完《指环王》后，他们可能会像他们的前辈从十六世纪伦敦或雅典的剧院中出现一样，因刚刚目睹的巨大戏剧而感到神秘的升华。公元前五世纪的场景，或者在古代美斯波塔米亚的某个城市听到吉尔伽美什和洪巴巴之间的战斗的观众；尽管从表面上看，他们所处的世界似乎截然不同。但他们随后也会发现，这个世界本身正在上演他们刚刚追随的宇宙戏剧的自己版本；只是，黑暗与光明的力量到底在哪里，却并不那么清楚。
As crowds emerged from watching The Lord of the Rings in the first years of the twenty-first century, they might have felt just as mysteriously elevated by the immense drama they had just witnessed as their predecessors emerging from a theatre in sixteenth century London or Athens of the fifth century BC, or an audience hearing of the battle between Gilgamesh and Humbaba in some city of ancient Mespotamia; even though, outwardly, the world they emerged into seemed so unrecognisably different. But what they would then also have found was that this world was itself now acting out its own version of the cosmic drama they had just been following; except that it was by no means so clear where the powers of darkness and light lay.
2001 年 9 月 11 日，客机撞上纽约世贸中心双塔的画面在全球闪现，这是自肯尼迪遇刺以来最令人震惊的事件，人类被卷入了一场冲突，只有认识到冲突的严重程度才能正确理解这场冲突。所有不同的玩家都将自己的版本投射到它上面，这些版本正是塑造故事讲述的相同原型。
When on 11 September 2001 images flashed round the globe of the airliners crashing into the towers of New York’s World Trade Center, the single most shocking event since the Kennedy assassination, mankind was drawn into a conflict which could only be properly understood by recognising the extent to which all the different players were projecting onto it their own versions of precisely those same archetypes which shape storytelling.
从乔治·W·布什的角度来看，他卷入了一场与邪恶至高无上的化身的战斗：全球恐怖主义的多头怪物，最初以奥萨马·本·拉登的无形人物为中心，像《电影》中长着胡子的萨鲁曼一样潜伏着。他的洞穴。但后来看来，本·拉登和萨鲁曼一样，只是一个更加致命的邪恶人物的幌子。现在索伦人们可以看到他从巴格达黑暗帝国的中心向世界投射了威胁性的阴影。
From the point of view of George W. Bush, he was involved in a battle with the supreme embodiment of evil: that many-headed monster of global terrorism which initially centred on the invisible figure of Osama bin Laden, lurking like the bearded Saruman in his cave. But it then appeared that bin Laden, like Saruman, was only a front for an even more deadly figure of evil. Now Sauron himself could be seen casting his threatening shadow over the world, from the centre of his dark empire in Baghdad.
对于布什和他的盟友来说，现在召唤他们采取行动的原型叙事的力量很大一部分是关于他的父亲如何未能将他早些时候击败萨达姆·侯赛因的努力推向正确的原型结论的记忆。1991年，吉尔伽美什和恩基杜等英雄出发，穿越半个世界去消灭怪物，但他们在最后一刻没有出手，让怪物毫发无伤。现在，儿子布什开始完成他父亲的故事。2003年，当他的军队赢得了辉煌的军事胜利，萨达姆最终像一个枯萎的怪物一样被从地洞里拉出来时，故事似乎终于结束了。
For Bush and his allies, a good part of the power of the archetypal narrative now calling them to action was the memory of how his father had failed to press his earlier bid to overcome Saddam Hussein to its proper archetypal conclusion. In 1991, after the heroes had set out, like Gilgamesh and Enkidu, to travel half across the world to slay the monster, they had at the last minute stayed their hand, leaving the monster untouched. Now Bush the son set out to complete his father’s story. When in 2003 his forces had won their brilliant military victory, and Saddam was finally pulled like a shrivelled monster from his hole in the ground, it might have seemed the tale was finally over.
但很明显，情节并不那么简单。当布什和他忠实的伙伴托尼·布莱尔向萨达姆投射比现实合理的更大的威胁世界的力量时，这一点变得更加明显，他们效仿堂吉诃德和桑丘·潘萨，对萨达姆发起了猛烈的攻击。巨人并发现它们只是风车。
But already it was apparent that the plot was not quite so simple. This was to become even more obvious when it emerged just how far Bush and his faithful companion Tony Blair had, in projecting onto Saddam rather more power to threaten the world than reality justified, been emulating Don Quixote and Sancho Panza, launching a ferocious assault on giants and discovering them to be only windmills.
当然，从另一个角度来看，萨达姆根本不是故事中的怪物。对于许多人来说，这种原型现在被投射到美国和布什本人身上，代表着一种统治意识，这种意识从“一线”看不到在其以自我为中心的权力所投下的阴影中正在发生的事情的真相。美国现在是无可争议的全球超级大国，这是世界前所未见的。但在“线下”，在伊斯兰世界、在欧洲、在觉醒的巨人中国，各种力量开始对美国的单边统治感到不满。
From another point of view, of course, it was not Saddam who was the monster of the story at all. For many this archetype was now projected on America and Bush himself, representing that ruling consciousness which, from ‘above the line’, cannot see the truth of what is going on in the shadows cast by its egocentric power. The United States was now the one undisputed global superpower, in a way the world had never seen before. But ‘below the line’, in the world of Islam, in Europe, in the awakening giant of China, all sorts of forces were beginning to constellate in resentment at their perception of how one-sided America’s domination had become.
然而，没有哪个地方的力量平衡比与美国结盟的国家更棘手了，这个国家的诞生只是因为一个故事：以色列。在二十世纪上半叶，欧洲的犹太人已经成为“线下”受害者的最高典范，他们首先受到俄罗斯帝国的迫害和流放，然后成为希特勒纳粹分子疯狂种族灭绝的牺牲品。这个时代最黑暗的暴政。但在本世纪下半叶，这场令人震惊的悲剧的后果是，在“以色列人”抵达他们的“应许之地”之后，《旧约全书》的大部分内容都讲述了这个故事的不可思议的重演。 ’，他们发现这里居住着所有那些已经是他们家的人。公元后，他们再次被流放，长达近两千年。
Nowhere, however, was the balance of power more intractably one-sided than in that country allied to America which had only come into being because of a story: Israel. In the first half of the twentieth century, the Jews of Europe had become the supreme example of ‘below the line’ victims, first persecuted and driven into exile by the Russian empire, then falling prey to the genocidal madness which possessed Hitler’s Nazis, the darkest tyranny of the age. But in the second half of the century, the aftermath of this astonishing tragedy was to be an uncanny re-enactment of that story recounted through much of the Old Testament when, following the arrival of ‘the children of Israel’ in their ‘promised land’, they had found it inhabited by all those people for whom it was already their home. In ancient times this had led to all those centuries of violence which were only to end when, first, the Jewish people were taken into captivity in Babylon, and then, after their return, saw their homeland taken over by the Roman empire, which in 70 AD sent them again into an exile which was to last for nearly two thousand years.
1948 年之后，在恐怖主义的帮助下，自 1890 年代起返回巴勒斯坦的欧洲犹太人在这片数百年来一直是巴勒斯坦阿拉伯人家园的土地上建立了新的以色列国，他们提供了另一个例子当人们曾经“线下”然后设法上升到“线上”并达到统治地位时，就会发生这种情况。显示新状态对于被剥夺财产的巴勒斯坦人来说，这是一个暴虐统治国家的所有典型特征。现在轮到阿拉伯人扮演受害者的角色了，因为以色列创造了一个社会，就像种族隔离时期的南非一样，牢牢地分为上下两部分。这种片面性不可避免地给整个中东地区蒙上了一层阴影，这成为了该地区在接下来的半个世纪里困扰该地区的紧张局势和不稳定的核心，导致了连续五场战争 — — 并且永远有爆发的危险。陷入一场可能波及世界其他大部分地区的灾难。18
After 1948 when, with the aid of terrorism, those European Jews who had been returning to Palestine since the 1890s set up their new state of Israel in the land which for centuries had been home to the Palestinian Arabs, they provided yet another example of what can happen when people once ‘below the line’ then manage to rise ‘above the line’ to a position of dominance. The new state displayed towards the dispossessed Palestinians all the archetypal characteristics of a tyrannical ruling power. It was now the turn of the Arabs to be cast in the role of victims, as Israel created a society just as firmly divided into two groups, above and below the line, as that of South Africa during the years of apartheid. Inevitably such one-sidedness threw a shadow across the Middle East which lay at the heart of much of the tension and instability which was to plague that region through the next half century, leading to five successive wars – and which perpetually threatened one day to explode into a catastrophe which could draw in much of the rest of the world.18
所有这些引出了第三种方式，通过这种方式，理解故事可以帮助揭示二十世纪初人类的状况。如果我们将人类的整个历史视为一个巨大的故事，那么塑造这个故事的原型模式是什么？故事的结局可能如何？
All this leads on to a third way in which the understanding of stories can help to shed light on the state of mankind at the start of the twenty-first century. If we are to look on the entire history of the human race as itself a colossal story, what is the archetypal pattern which is shaping that story? How is the story likely to end?
出发点必须是，智人是地球上唯一一种走出自然本能框架并发展出自我意识的生命形式。正是这一点，在更大程度上使其能够在利用自然力量为自己谋取利益方面取得如此成功。但随着意识的每一次进步，它就失去了更多的纯真，并投下了越来越长的阴影。总是要付出一些代价的。意识每一次扩展，在另一种意义上它就变得更加有限。最终它的聪明才智创造了毁灭地球上所有生命的潜力，包括它自己。尽管人类没有明显的外部对手，但除了那些最卑微的有机体、病毒和细菌的力量外，人类最大的潜在敌人是其自身分裂的本性。
The starting point must be that Homo sapiens is the one form of life on earth which has stepped outside the instinctive frame of nature to develop ego-consciousness. It is this which, to an ever greater degree, has enabled it to enjoy such success in bending the powers of nature to its own advantage. But with every advance in consciousness it has lost more of its innocence and cast an ever longer shadow. There is always some price to be paid. Each time consciousness has expanded, so in another sense it has become more limited. And eventually its ingenuity has created the potential to destroy all life on earth, including itself. Although mankind has no obvious external rival, apart from the power of those humblest of organisms, viruses and bacteria, its greatest potential enemy is its own divided nature.
从另一个角度来看，这种对自然状态的突破就像是对自然统一性的越来越大的反叛行为。如果我们在故事中看到角色有这样的行为，我们就知道这种傲慢最终会带来自己的克星，从而恢复宇宙平衡。这让我们回到了洛基的故事，洛基是最初偷走戒指的人，为托尔金的故事提供了灵感：自我意识的戒指赋予了巨大的力量，但也带来了致命的诅咒，在瓦格纳的版本中，最终带来了黄昏。诸神和世界的终结。
Looked at from another perspective, this breaking out of from a state of nature has been like an ever-greater act of rebellion against the unity of nature. And if we see characters behaving like this in a story, we know that such hubris will in the end contrive to bring about its own nemesis, so that cosmic balance can be restored. Which brings us back to the story of Loki, the original stealer of the ring which inspired Tolkien’s story: the ring of ego-consciousness which gives great power but carries with it the fatal curse which, in Wagner’s version, eventually brings about the twilight of the gods and the ending of the world.
在最初的挪威版本中，故事并没有这样结束。洛基最终召唤了这三个怪物，它们将在故事的结局中发挥作用。正如我们自己的自我意识催生了那些“大规模杀伤性武器”——生物武器、化学武器和核武器——它们可能会毁灭我们自己的世界一样。但在标志着最终灾难的永恒冬天和大火的浩劫的另一边，奥丁看到了一些奇怪而美妙的重生。
In the original Norse version, the story does not end like this. Loki eventually calls into being those three monsters which are to play their part in the ending of the world, just as our own ego-consciousness has called into being those ‘weapons of mass destruction’ – biological, chemical and nuclear – which could bring about the destruction of our own world. But on the far side of the eternal winter and holocaust of fire which marks the final catastrophe, comes Odin’s vision of some strange and wonderful rebirth.
事实是，我们可以做梦，我们可以画文字图画，我们可以想象故事——但它们不能确切地告诉我们人类的故事将如何结束，更不用说这样的“重生”可能采取什么形式。正如罗伯特·弗罗斯特所说：
The truth is that we can dream dreams, we can paint word-pictures, we can imagine stories – but they cannot tell us for certain how the story of mankind will end, let alone what form such a ‘rebirth’ might take. As Robert Frost had it:
“有人说世界将在大火中终结，
‘Some say the world will end in fire,
有人说在冰里。
Some say in ice.
从我尝过的欲望来看，
From what I’ve tasted of desire,
我支持那些喜欢火的人。
I hold with those who favour fire.
但如果它必须灭亡两次，
But if it had to perish twice,
我想我对仇恨了解得够多了
I think I know enough of hate,
这么说来，为了毁灭，冰
To say that, for destruction, ice
也很棒
Is also great
就足够了。
And would suffice.’
然而，故事可以比我们意识到的更深刻地告诉我们，我们的人性是如何运作的，以及为什么我们在这个世界上如此思考和行为。这就是为什么我相信，要正确理解为什么我们的物种有想象故事的冲动，这与地球上人类需要解开的谜团一样重要。
What stories can tell us, however, much more profoundly than we have realised, is how our human nature works, and why we think and behave in this world as we do. That is why I believe that to arrive at a proper understanding of why our species has the compulsion to imagine stories is as important a riddle as there is left for mankind to solve on this earth.
即使它不能把我们从我们自己中拯救出来，它也可以帮助我们理解为什么但丁以最非凡的思想来结束他的伟大诗篇：他的愿景是，即使生命结束了，我们仍然可以被吸收回到那难以想象的力量中。最终将整个宇宙结合在一起并永远持续下去：“移动太阳和其他星星的爱”。
Even if it cannot save us from ourselves, it may help us to understand why Dante ended his great poem on that most extraordinary thought of all: his vision that, even when life is ended, we can still be absorbed back into that unimaginable power which ultimately holds all the universe together and which continues for ever: ‘the love that moves the sun and the other stars’.
尾声
墙上的光与影
Epilogue
The Light and the Shadows on the Wall
“人们首先否认一件事；然后他们贬低它；然后他们说这一直是众所周知的。
‘First people deny a thing; then they belittle it; then they say it was known all along.’
亚历山大·冯·洪堡
Alexander von Humboldt
世界上最深刻的故事之一实际上只不过是一个精心设计的图像：柏拉图的洞穴寓言。1他想象出一排男人被囚禁在山洞里的画面，他们的目光被迫只盯着一个方向。在他们前面的墙上，当人物和物体在他们身后的火前经过时，他们看到不断变化的阴影；而且，由于这就是他们所看到的一切，他们将其视为他们所生活的世界的现实。
One of the most profound stories in the world is really no more than an elaborate image: Plato’s Parable of the Cave.1 He conjures up the picture of a row of men, imprisoned in a cave, their gaze forcibly fixed in only one direction. Here on the wall in front of them they see a constant play of shadows as figures and objects pass in front of a fire behind them; and, since this is all they ever see, they take it for the reality of the world in which they live.
然后，其中一个人发现自己可以自由地环顾四周并离开自己的位置。他隐约看到他们上方和后方有一道似乎比闪烁的火焰更纯净、更强烈的光芒。他艰难而陡峭地爬到了它的源头，发现它来自洞口。他走到阳光下，看到了太阳。起初，它的光太亮了，他睁不开眼。但当他逐渐习惯之后，他第一次能够看到洞外的真实世界，以及洞内的一切。
One of them then finds himself free to look around and move from his place. He dimly sees above and behind them what appears to be a purer, stronger light than that of the flickering fire. He makes the rough and steep ascent up to its source, to discover that it is coming from the mouth of the cave. He steps out into the daylight, where he sees the sun. At first its light is so bright that he is blinded. But as he gradually becomes accustomed to it, he can for the first time gaze on the real world outside the cave and all that is in it.
他对眼前的景象感到眼花缭乱，然后又回到黑暗中，他的老同伴们仍然像现代电视观众一样，被墙上的影子惊呆了。他试图向他们解释他所目睹的奇迹，但他们无法理解他在说什么。墙上舞动的影子是他们所知道的唯一现实。他们嘲笑他，想象他正在根据他所看到的事情编造故事，并称他疯了。另一方面，他现在可以清楚地看到墙上的形状，它们只不过是阴影和幻象。他可以再分享他的同伴们对彼此对阴影及其所代表的一切巧妙观察的赞扬，因为他已经瞥见了“现实”。
Dazzled by what he has seen, he makes his way back down into the darkness to where his old companions are still transfixed, like a modern television audience, by the play of shadows on the wall. He tries to explain to them the wonder of what he has witnessed, but there is no way they can understand what he is talking about. The dancing shadows on the wall are the only reality they know. They laugh at him, imagine he is making up his story about what he has seen, and call him mad. He, on the other hand, can now see the shapes on the wall clearly for what they are, as no more than shadows and illusions. He can longer share his companions’ commendation of each other for all their clever observations about the shadows, and what they represent, because he has glimpsed ‘reality’.
这个故事的原型本质与夏延的跳鼠故事所象征的原型本质非常相似。当跳跳鼠回到黑暗的森林，试图告诉他的老鼠伙伴们他去大河的旅程，以及他如何远远瞥见“圣山”时，他们无法理解他在说什么，并对他嗤之以鼻。他。
The archetypal essence of this story is much the same as that symbolised in the Cheyenne story of Jumping Mouse. When Jumping Mouse returns to the dark forest and tries to tell his fellow mice about his journey to the great river, and how he had caught a far-off glimpse of the ‘Sacred Mountain’, they cannot understand what he is talking about and scorn him.
森林里的老鼠，就像柏拉图的穴居人一样，代表着集体的自我意识。他们自然地确信他们所看到的周围世界是真实的，因为这一切都是他们有限的意识状态允许他们看到的。每个故事的主人公都发现他的意识之墙突然倒塌，让他看到了更加真实的东西。但经历过如此鼓舞人心的经历后，他无法将其传达给他的同伴，因为他们的视野仍然受到自我的限制。正如阿根廷小说家豪尔赫·路易斯·博尔赫斯曾经说过的那样，对于一个信徒来说，试图向无神论者传达“上帝”的含义就像试图向盲人解释黄色的含义一样。
The forest-dwelling mice, like Plato’s cave-dwellers, represent collective ego-consciousness. They are naturally sure the world they see around them is real, because it is all their limited state of consciousness allows them to see. The hero of each of these stories has found that the walls of his consciousness have suddenly fallen away, allowing him to glimpse something immeasurably more real. But having been through such an inspiring experience, there is no way he can communicate it to his companions, because their vision is still bound by the limitations of the ego. As the Argentine novelist Jorge Luis Borges once put it, for a believer to try to communicate to an atheist what is meant by ‘God’ is like trying to explain to a blind man what is meant by the colour yellow.
我相信，有一天，人们最终会发现，长期以来，我们用科学方法来理解世界的最显着的失败之一，就是没有认识到我们想象故事的冲动同样受到以下法则的支配：它可以作为原子或基因组的结构进行科学研究。
One day, I believe, it will eventually be seen that for a long time one of the most remarkable failures of our scientific approach to understanding the world was not to perceive that our urge to imagine stories is something just as much governed by laws which lay it open to scientific investigation as the structures of the atom or the genome.
正如柏拉图的寓言所反映的那样，悖论在于，正是我们有限的自我意识的本质阻碍了我们看到故事可以告诉我们多少关于我们意识的局限性。
The paradox, as is mirrored by Plato’s Parable, is that it is the very nature of our limited ego-consciousness which stands in the way of our seeing how much stories can teach us about the limitations on our consciousness.
这就是为什么在那些不知不觉中对本书所提出的方法感到最大阻力的是那些已经确信自己知道故事的内容的批评家和“文学”专家。这些页面中对个别故事的许多解释将与他们已经形成的观点相矛盾，并且很难放弃。
That is why among those who will unconsciously experience the greatest resistance to the approach put forward by this book are those critics and specialists in ‘literature’ who are already sure that they know what stories are about. Many of the interpretations of individual stories in these pages will contradict views they have already formed and would find it hard to abandon.
但最终，无论我的论证多么不充分，本书中提出的讲故事的一般方法都会被广泛接受，因为它让我们能够理解为什么我们要以科学的方式讲故事。可以理解的。无论假设有多少例子被检验，规律仍然成立。我们的大脑围绕这些形状创造故事。这就是为什么我们以我们的方式回应他们。
But in the end, however inadequately I may have argued the case, the general approach to stories set out in this book will come to be widely accepted, simply because it opens up our understanding of why we tell stories in a way which makes it scientifically comprehensible. However many examples the hypothesis is tested against, the laws hold. These are the shapes around which our mind creates stories. This is why we respond to them in the way we do.
显然，我们一直关注的叙事中的一个关键时刻是过去 200 年来讲故事方式所发生的变化。事实上，如此多的故事都以这种方式“失去了情节”，反映了我们文化中如此根本的心理转变，这使得人们能够更清楚地看到故事背后的原型模式的目的是什么。当它们正常运作时。用索尔克博士的话来说，“正是在生命的正常结构受到干扰的地方，我们才开始了解物种的基本法则”。
Obviously a crucial moment in the narrative we have been following is the change which has come over storytelling in the past 200 years. It is the very fact that so many stories have ‘lost the plot’ in this way, reflecting such a fundamental psychic shift in our culture, which has made it possible to see much more clearly just what is the purpose of the archetypal patterns underlying stories when they are functioning properly. In Dr Salk’s words, ‘it is where life’s normal structures are disturbed that we come to know the essential laws of the species’.
正如我们所见，没有什么比“黑暗”与“光明”之间的冲突更密切地关注故事了。然而，用劳伦斯·惠斯勒之前引用的话来说，“光明需要黑暗才能变得清晰”。我们之所以以这种对比的方式看待世界，是因为我们的意识已经脱离了与自然的本能统一。当然，在某些方面，正如过去两个世纪的历史所表明的那样，我们离这种统一越远，我们就越感到困惑和迷失。但我们越是经历这导致的黑暗和精神空虚，在某些方面就越容易认识到我们被放逐的原因是什么。当我们探索这个世界的浅薄和局限性时，我们无意识地被人类自我的黑暗所引导进入其中，“光”，如果我们没有与它分离的话，这是不可能的。
There is nothing with which stories are more intimately concerned, as we have seen, than the conflict between ‘dark’ and ‘light’. Yet, in the words quoted earlier from Laurence Whistler, ‘the light needs the dark to become articulate’. The very reason why we see the world in terms of this contrast stems from the fact that our consciousness has become separated from its instinctive unity with nature. And certainly in some respects, the further we move away from that unity, as the history of the past two centuries shows, the more confused and lost we become. But the more we experience the darkness and spiritual void this leads to, the easier in some ways it becomes to recognise what it is we have become exiled from. As we explore the shallowness and limitations of the world into which we are unconsciously led by the darkness of the human ego, the more consciously we can appreciate the ‘light’, in ways which would never have been possible had we not been separated from it.
但丁需要先到达地狱的最低点，然后才能开始攀登天堂。奥德修斯需要经历十二次地狱和黑暗的考验，然后才能准备好夺回他的“另一半”和他的王国。基督需要在他的“自我”中死去，然后才能在永恒的“自我”中复活。在我们这个时代，那些苏联“持不同政见者”需要忍受最坏的共产主义谎言暴政，然后才能变得内心强大到足以认识真相。
Dante needed to travel down to the very lowest point of hell before he could begin the climb up to Paradise. Odysseus needed to go through the hell and darkness of his twelve ordeals before he was ready to reclaim his ‘other half’ and his kingdom. Christ needed to die in his ‘ego self’ before he could be resurrected in the Self that is eternal. In our own time, those Soviet ‘dissidents’ needed to endure the Communist tyranny of lies at its worst, before they could become inwardly strong enough to recognise the truth.
无论创造宇宙的力量是什么，还有什么比创造物质宇宙的一小部分更非凡的想象力，让物质宇宙以一种能够自我复制、创造生命的方式独立存在呢？ ？然后，这个奇怪的新实体应该逐渐从自身中分化出来，变得越来越复杂，直到它需要同一物种的两个不同的个体有机体结合在一起产生第三个——然后它必须与第四个有机体结合起来过程要重复进行。然后这个实体的那一部分，生命，最终应该变得如此难以想象的复杂，以至于它发展出一种独特的新意识形式，
Whatever the power that created the universe, what more extraordinary act of the imagination could there be than that it should create a tiny part of that material universe which took on its own separate existence, in a way which enabled it to reproduce itself, creating life? And then that this strange new entity should gradually differentiate out of itself, becoming more and more complex, until it required two different individual organisms of the same species to join together to produce a third – which would then have to unite with a fourth for the process to be repeated. And then that part of this entity, life, should eventually become so unimaginably more complex that it developed a unique new form of consciousness, enabling it not only to step outside its unconscious obedience to instinct but to use it to speculate as to where it had come from and why it had been created.
许多这些新的个体有机体可能会得出这样的结论：它们存在的唯一功能是与它们诞生的生命整体分开生活，并享受满足其本能的乐趣，直到它们被消灭的时刻到来。吃喝玩乐，因为明天我们就会死去。然而，其他人可能会怀着神圣的敬畏感看待他们出生的世界和宇宙，将其视为奇迹般的整体，而他们自己的个人意识只是转瞬即逝、微小的表达。
Many of these new individual organisms might conclude that their only function in existing was to live separately from that totality of life from which they had emerged, and to enjoy the pleasures of gratifying their instincts until the time came for them to be extinguished. Eat, drink and be merry, for tomorrow we die. Others, however, might look on the world and the universe into which they had been born with a sense of holy awe, as the miraculous totality of which their own individual consciousness was just a fleeting, miniscule expression.
最初推动这一切的宇宙心灵最终创造了一个有机体，无论多么模糊，它都可以分享自己的一小部分意识；它能够意识到自己超越的存在；它可以感觉到，在所有创造物和整个宇宙背后，有一种统一的力量，将它们结合在一起，作为一种物质，一种结构，一种连接一切的冲动和一种精神，因为它超越了物质，所以是永恒的：那四合一——人类思想将其转化为自己理解的术语，即身体、思想、心灵和灵魂。实现这一目标的一种方法是用故事来想象。
The cosmic mind which had originally set all this in motion had at last created an organism which could, however dimly, share a tiny bit of its own consciousness; which could become aware of its own transcendent existence; which could sense that behind all creation and all the universe was one unifying power which bound it all together, as one substance, one structure, one all-connecting impulse and one spirit which, because it transcended matter, was eternal: that four-in-one quaternity which the human mind was to translate into the terms of its own understanding as body, mind, heart and soul. And one way in which it would do this was by imagining it in terms of stories.
最后，从某种意义上说，我们所有人都是故事专家，因为没有什么比以故事的形式看世界更接近我们的了。我们的脑子里不仅总是充满故事；而且 我们每个人一生都在演绎自己的故事。无论表面上是男性还是女性，我们每个人都像大卫·科波菲尔一样，成为我们自己生活故事中的英雄——就像我们同样是故事中的女主角一样。正如我们从故事中看到的那样，我们生活的目标是这两个人应该合而为一，“从此幸福地生活”。
In the end we are all of us in a sense experts on stories, because nothing is closer to us than to see the world in the form of stories. Not only are our heads full of stories all the time; we are each of us acting out our own story throughout our lives. Outwardly male or female, we are each of us, like David Copperfield, cast as the hero of the story of our own life – just as we are equally its heroine. And the aim of our life, as we see from stories, is that those two should become one, to ‘live happily ever after’.
在这本书中，我尽可能地尝试提供我们在谈论故事时使用的所有术语背后的原始想法：傲慢、复仇、结局，灾难。唯一似乎没有字典提供其原始根源概念的单词在某种程度上是最重要的：这些单词“英雄”和“女英雄”本身。但是，经过多年的写作，我确信，在历史的迷雾中，它们一定与我们的“继承人”一词在某种程度上密切相关。换句话说，男主角或女主角是天生的继承者；谁值得成功；他们必须成长为适合从前人手中接过生命火炬的人。
Wherever possible, I have tried in this book to supply the original thought behind all the terms we use when we are talking about stories: hubris, nemesis, denouement, catastrophe. The only words for which no dictionary seems to provide the original root idea are in a way the most important of all: those words ‘hero’ and ‘heroine’ themselves. But, after many years working on this book, I am convinced that, lost in the mists of history, they must be closely related in some way to our word ‘heir’. In other words, the hero or the heroine is he or she who is born to inherit; who is worthy to succeed; who must grow up as fit to take on the torch of life from those who went before.
这就是我们来到这个世界时所承担的任务的本质。这就是故事试图告诉我们的。
Such is the essence of the task laid on each of us as we come into this world. That is what stories are trying to tell us.
七个基本情节
作者的个人笔记
The Seven Basic Plots
Author’s Personal Note
当 1969 年秋天我第一次决定写这本书时，我几乎不知道 34 年过去了它才完成。花半生时间写一本书显然是荒谬的，我的第一个债务是几十年来所有的人，当他们得知我正在写一本关于“讲故事的基本情节”的书时，他们对这个想法表示欢迎任何人都应该怀着如此的热情尝试这样的项目。他们的热情回应给了我比他们想象的更多的鼓励；尽管随着岁月的流逝，不少人开始怀疑，就像卡苏邦博士所说的“所有神话的钥匙”一样，我的努力永远不会见到曙光。
When in the autumn of 1969 it was first decided that I should write this book, I had little idea that 34 years would elapse before it was finished. To spend half a lifetime writing a single book is obviously ridiculous, and my first debt is to all those people during the decades between who, when told that I was working on a book on ‘the basic plots of storytelling’, greeted the idea that anyone should attempt such a project with such enthusiasm. Their warm response gave me more encouragement than they can have known; even though, as the years went by, not a few began to express a suspicion that, like Dr Casaubon’s ‘key to all mythologies’, my efforts would never see the light of day.
写这本书的想法源于我正在写一本名为《The Neophiliacs》的书，该书分析了 20 世纪 50 年代和 1960 年代英国生活中发生的变化。当本书于 1969 年 10 月出版时，我已经看够了我们想象故事的方式背后的无意识模式，希望更系统地探索它们。在白金汉门附近一家早已消失的餐厅里，与我当时的经纪人戴安娜·克劳福德共进晚餐时，我们同意我应该追随这种冲动；我开始工作，知道我的首要任务是阅读各种各样的故事，看看这个想法会如何发展。
The idea for the book originated when I was working on a book called The Neophiliacs, analysing the changes which had taken place in English life in the 1950s and 1960s. By the time this was published in October 1969 I had already seen enough of the unconscious patterns underlying the way in which we imagine stories to wish to explore them more systematically. At dinner with my then-agent Diana Crawfurd, in a long-vanished restaurant off Buckingham Gate, we agreed that I should follow that impulse; and I set to work, knowing that my first task would be to read through a wide variety of stories, to see how the idea might develop.
第二年，我在我的母校什鲁斯伯里做了一场关于《哈姆雷特》和悲剧的基本模式的演讲，演讲的部分内容已被纳入第 30 章，作为本书最终文本中现存最古老的部分。在 18 个月内，我在笔记本上写满了概要，完成了“七个基本情节”的初稿大纲，已经认识到建议选择示例来说明主题的两个一般原则。
The following year I gave a talk on Hamlet and the underlying pattern of Tragedy at my old school, Shrewsbury, and parts of that lecture have been incorporated into Chapter 30 as the oldest surviving chunk of the book’s final text. Within 18 months, having filled a pile of notebooks with synopses, I had completed a first draft outline of ‘the seven basic plots’, already recognising two general principles on which it would be advisable to choose examples to illustrate the theme.
首先，为了传达讲故事背后这些反复出现的模式的“普遍性”，有必要包括尽可能广泛的故事类型，从神话和民间故事，到“伟大文学”的戏剧和小说，再到当今的好莱坞电影、惊悚片和科幻小说。但是，其次，为了防止论证被无休止的晦涩的情节摘要所堵塞，最好尽可能使用大多数潜在读者已经熟悉的故事。这意味着总体上要保持西方讲故事的文化传统，只提及其之外的实例，以强调特定主题的普遍性。
Firstly, to convey the ‘universality’ of these recurring patterns behind storytelling it would be necessary to include as wide a range of story-types as possible, from myths and folk tales, through the plays and novels of ‘great literature’, to the Hollywood films, thrillers and science fiction of the present day. But, secondly, to prevent the argument becoming clogged with endless obscure plot-summaries, it would be desirable wherever possible to use stories which were already familiar to the greatest number of potential readers. This would means keeping in general within the Western cultural tradition of storytelling, only mentioning instances outside it where this was necessary to underline the ubiquity of a particular theme.
在这个早期阶段，我欠下的一个巨大的债务就是《企鹅经典》系列，该系列由 EV Rieu 于 1944 年推出，其翻译的《奥德赛》是一个特别的版本。这本书的灵感来源是贝蒂·拉迪斯（Betty Radice）当时的共同编辑（碰巧她给我写了一封关于新恋者的非常慷慨的信）。在本书写作过程中，我桌上的书架上摆满了 300 多本书，涵盖了从《吉尔伽美什史诗》到 19 世纪的小说和戏剧的各个时代。如果没有他们提供的轻松获取世界文学的机会，为这个项目开展基本的基础工作将会变得更加困难（就像几十年后，如果没有他们的支持，很难找到许多电影的详细摘要一样）互联网）。
One enormous debt I owed at this early stage was to the Penguin Classics series, launched in 1944 by E. V. Rieu whose translation of the Odyssey was a particular inspiration for this book, and co-edited at this time by Betty Radice (who, as it happened, had written me a very generous letter about The Neophiliacs). More than 300 of these volumes have lined the shelves around my desk throughout the writing of this book, ranging all through the ages from The Epic of Gilgamesh to the novels and plays of the nineteenth century. Without the easy access to world literature they made possible, it would have been infinitely harder to carry out the basic groundwork for this project (just as, decades later, it would have been difficult to track down detailed summaries of many films without the blessings of the Internet).
很快我就发现我的初稿只是一个不充分的提议。整个 20 世纪 70 年代，我不得不更深入地了解讲故事的象征意义在多大程度上源自人类无意识中的原型结构，在这里，我从阅读荣格的作品中受益匪浅；尽管我已经看到，对故事的正确理解可能使他有可能将他对心灵运作的直觉方法发展为比他留下的形式更加系统化的结构。到那个十年结束时，我已经完成了第二稿，足以开始与潜在的出版商讨论这本书，其中之一，理查德·科恩，多年来一直孜孜不倦地鼓励我。
It soon became clear that my first draft was only an inadequate overture. Through the 1970s I was having to get more closely to grips with how far the symbolism of storytelling derived from archetypal structures within the human unconscious, and here I benefited hugely from reading through the works of Jung; although I could already see that a proper understanding of stories might make it possible to develop his intuitive approach to the workings of the psyche into something rather more systematically structured than the form in which he had left it. By the end of that decade I was well into a second draft, enough to begin discussing the book with potential publishers, one of whom, Richard Cohen, was to remain tirelessly encouraging for several years.
只有当这个草案本身陷入混乱的细节时，我才终于重新开始写第三个也是最后一个草案。尽管这一切进展缓慢，令人痛苦，但到了 20 世纪 80 年代末，我已经完成了“七个基本情节”的介绍性章节（构成最终版本第一部分的大部分内容），愚蠢地认为我几乎已经完成了这本书。这些年的一个特别好处是有机会详细研究我的两个年幼的儿子如何接受讲故事，留意讲故事的内容，尤其是在早年，这首先将我们所有人带入讲故事的世界，以及什么是孩子无意识地寻找的模式。但在第二个十年结束时，我不知道还有多少工作要做。
Only when this draft itself became bogged down in chaotic detail did I finally start again on what was to be the third and final draft. Athough this emerged with painful slowness, by the end of the 1980s I had completed the introductory chapters on the ‘seven basic plots’ (constituting most of Part One of the final version), foolishly thinking that I had almost finished the book. One particular benefit of these years was the opportunity to study in detail just how my two young sons took to being told stories, watching out for what it is, particularly in early years, which first draws us all into the world of storytelling, and what are the patterns a child is unconsciously looking for. But at the end of this second decade, I had no idea how much work was still to come.
到了 20 世纪 90 年代中期，最初的一个结论章节已经发展成为整个第二部分，破译了构建故事的基本符号语言；我现在意识到，这本书需要更大的篇幅来应对过去 200 年来讲故事所发生的巨大变化。幸运的是，就在这个时候，我再次怀着深深的感激之情，终于可以把这本书转移到电脑屏幕上。到目前为止，为了允许对文本进行无休止的修改，每一页都必须输入而不是一次，但在许多情况下必须输入数十次。现在，像许多作家一样，我被电子革命解放了，这让我想知道我们以前是如何写书的。
By the mid-1990s what was originally a single concluding chapter had developed into the whole of Part Two, deciphering the basic symbolic language from which stories are constructed; and I was now aware that a further huge section of the book would be required to deal with the immense change which has come over storytelling in the past 200 years. Fortunately it was at this time that, again with profound gratitude, I could at last transfer the book onto a computer screen. Until now, to allow for endless modification of the text, every page had had to be typed not once but in many cases scores of times. Now, like many authors, I was liberated by the electronic revolution in a way which made one wonder how we all managed to write books before.
到 20 世纪 90 年代末，我终于开始明白这本书应该如何发展到第四部分的结论。我现在正在进入第三部分，处理过去两个世纪里讲故事的变化，当时我遇到了精神障碍，不得不应对普鲁斯特的写作（他的《追忆往事》当时受到各方的赞扬）被誉为“二十世纪最伟大的小说”）。一旦克服，这被证明是最后的僵局。这第三部分的其余部分以令人欣喜的速度涌现，包括撰写有关俄狄浦斯和哈姆雷特的章节的兴奋，其中纳入了 30 年前为学校讲座初稿的材料。
By the end of the 1990s I could at last begin to see how the book should develop towards its conclusion with Part Four. I was now halfway into Part Three, dealing with the changes in storytelling in the past two centuries, when I ran into a mental block in having to cope with writing about Proust (whose Remembrance of Times Past was at the time being hailed on all sides as ‘the greatest novel of the twentieth century’). Once surmounted, this proved to be the final logjam. The remainder of Part Three emerged with gratifying speed, including the exhilaration of writing the chapter on Oedipus and Hamlet, which incorporated material first drafted for that school lecture 30 years earlier.
现在，当我接近最后几章，将我们想象故事的能力与“现实世界”联系起来时，我松了口气，意识到要完成一本如此密切地探讨人类心理模式的书确实很困难。我生命的早期阶段。多年来，我一直对这一切似乎花费了如此长的时间感到沮丧（另一个作者可能会更早到达那里）。但我需要这些年的世界经验来解开讲故事所呈现的一些更深层次的谜团，而这在以前是不可能的。当我读到最后几章时，这个项目已经花费了我在地球上一半的时间，这对任何人来说都可能显得过多。但至少，尽管存在种种缺陷，该项目现在已经完成了。
By now, as I approached the final chapters, relating our capacity to imagine stories to the ‘real world’, I was relieved to realise that it would really have been difficult to complete a book dealing so intimately with the patterns of human psychology at any earlier stage in my life. For years I had been frustrated by how long it all seemed to take (another author might have got there much sooner). But I had needed those years of experience of the world to puzzle out some of the deeper riddles presented by storytelling, in a way which earlier would not have been possible. By the time I came to its concluding chapters this project had taken half my time on earth, which might to anyone seem excessive. But at least, with all its imperfections, the project was now complete.
这些年来，不可避免地有无数人提出了评论或建议，而这些评论或建议往往在他们不知情的情况下，在帮助形成思想或提供最终文本中出现的示例或引文方面被证明是无价的。我无法公正地评价他们所有人，但我要特别感谢以下人士：
Inevitably through all those years countless people have made comments or suggestions which, often without their knowing it, have proved invaluable in helping to shape a thought or to provide an example or quotation which appears in the final text. I cannot do justice to them all, but in particular I would like to thank the following:
理查德·英格拉姆斯（Richard Ingrams）（让我注意本书开头引述的鲍斯韦尔约翰逊博士的生平）；莎拉·迈耶（Sara Meyer）（给了我《金屁股》）；托尼·杰伊和吉尔·杰伊；巴里·范托尼；安德鲁·奥斯蒙德；克里斯汀·斯通（Christine Stone）（开阔了我的视野）；本尼·格雷；玛丽·布克；阿里安娜·斯塔西诺普洛斯；罗伯特·多宁顿教授；安东尼·史蒂文斯博士；Christopher Hogwood（让我注意到Amadeus的缺点）；罗伯特·麦克拉姆；理查德·科恩；安妮·巴林；海拉·阿德勒；我的儿子尼古拉斯·布克和亚历山大·布克（他们在没有意识到的情况下教给了我一切）；罗伯特·坦普尔；Esther Eidinow（关于傲慢的起源的论文）；劳伦斯·范德波斯特爵士；帕特里夏·阿什比；劳伦斯·惠斯勒爵士；查理·佩顿（Charlie Paton）（给我《马拉喀什之声》））；伊恩·希斯洛普；理查德·诺斯（Richard North）（尤其是《终结者》）；海伦·萨穆利；安娜·杜达；埃德·霍克（Ed Howker）（第一个阅读终稿的人）；约翰·吉本斯；最后是我耐心的出版商罗宾·贝尔德·史密斯（Robin Baird-Smith）。
Richard Ingrams (for drawing my attention to the quotation from Boswell’s life of Dr Johnson which stands at the beginning of the book); Sara Meyer (for giving me The Golden Ass); Tony and Jill Jay; Barry Fantoni; Andrew Osmond; Christine Stone (for widening my horizons); Bennie Gray; Mary Booker; Arianna Stassinopoulos; Professor Robert Donington; Dr Anthony Stevens; Christopher Hogwood (for drawing my attention to the shortcomings of Amadeus); Robert McCrum; Richard Cohen; Anne Baring; Hella Adler; my sons Nicholas and Alexander Booker (for all they taught me without realising it); Robert Temple; Esther Eidinow (for her paper on the origins of hubris); Sir Laurens van der Post; Patricia Ashby; Sir Laurence Whistler; Charlie Paton (for giving me The Voices of Marrakesh); Ian Hislop; Richard North (not least for The Terminator); Helen Szamuely; Anna Duda; Ed Howker (who was first to read the final draft); John Gibbens; and finally my patient, if battered, publisher Robin Baird-Smith.
在我全神贯注于这本书的那些年里，我忽视了太多的其他责任，其中包括我对我的教子们的责任。很晚了，我现在把它提供给他们，因为它包含了我应该以其他方式传递给他们的东西：汤姆·温尼弗里斯、山姆·艾迪诺、托比·巴林、萨姆·霍尔登、大卫·杰伊、奥诺·鲍德里、埃莉诺·珀西瓦尔、斯托姆·博伊尔和汤姆·毕肖普。
Among too many other duties neglected during the years of my preoccupation with the book were those I owed to my godchildren. Very belatedly I now offer it to them as containing something of what I should have passed on to them in other ways: Tom Winnifrith, Sam Eidinow, Toby Baring, Sam Holden, David Jay, Honor Baldry, Eleanor Percival, Storm Boyle and Tom Bishop.
我最后要感谢瓦莱丽，她让我能够安心地学习多年，幸福地沉浸在一场我仍然不敢相信已经结束的斗争中。
My final debt is to Valerie, for allowing me to sit for years in the peace of my study, happily lost in a struggle I still cannot quite believe is over.
专业术语
Glossary of Terms
在试图为科学研究开辟如此广泛而复杂的领域时，本书不可避免地使用了大量的“技术术语”。这是对文中提到的更重要内容的简要指南。有些是根据荣格心理学改编的，有些则是新的。
Inevitably, in attempting to open up such a wide and complex field to scientific study, this book uses a good many ‘technical terms’. This is a brief guide to the more significant of those referred to in the text. Some are adapted from Jungian psychology, others are new.
原型：荣格的术语，用于识别编入我们心灵无意识层面的结构，与我们的核心本能相关，并塑造我们对世界的大部分反应。
Archetypes: Jung’s term to identify the structures programmed into the unconscious levels of our psyche, related to our core instincts, and which shape much of our response to the world.
主要的原型情结围绕着人类在“原型家庭戏剧”（见下文）中扮演的关键角色——父亲、母亲、儿子/英雄、女儿/女主角和儿童。故事以这些原型为中心，以及那些代表自我和“自我”的原型（见下文）。
The main archetypal complexes centre round the key roles played by human beings in the ‘archetypal family drama’ (see below) – Father, Mother, Son/Hero, Daughter/Heroine and Child. Stories are centred round these archetypes, along with those representing the ego and ‘the Self’ (see below).
正如本书所示，塑造故事的模式本身就是原型。
The patterns shaping stories, as this book shows, are themselves archetypal.
原型家庭剧：本书中使用的术语来描述这一过程，这一过程是讲故事和人类生活的核心，每一代人都在这个过程中成长，继承前人的事业。每个人的生命都是从孩童时期开始的，是由父亲和母亲配对创造的。故事的核心关注点是英雄或女主人公学会与自己的“另一半”配对，从而延续生命链条的过程。
Archetypal Family Drama: term used in this book to describe the process, central to storytelling and to human life, whereby each generation grows up to succeed to that which came before. Each person begins life as a child, created by the pairing off of a father and mother. A central preoccupation of stories is the process whereby their hero or heroine learns to pair off with their right ‘other half’, thus continuing the chain of life.
自我/自我分裂：进化赋予人类想象故事能力的关键。这源于我们心灵中自我和“自我”之间的分裂，这在动物王国中是独一无二的——以及重新连接两者的需要。
The ego/Self split: the key to why evolution has given human beings the capacity to imagine stories. This stems from the division in our psyche, unique in the animal kingdom, between the ego and ‘the Self’ – and the need to reconnect the two.
自我：我们意识的中心，我们心灵的一部分，通过它我们感知世界以及我们自己在其中的部分。由于“自我/自我分裂”，人类与其他动物不同，可以以自我为中心思考和行动。
Ego: the centre of our consciousness, that part of our psyche through which we perceive the world and our own part in it. Due to the ‘ego/Self split’, human beings, unlike other animals, can think and act egocentrically.
自我：荣格和其他人使用的术语来识别人类个性的更深层中心，它将我们与无私的核心本能联系起来。正是自我将我们与自我的要求之外的生命整体联系起来。我们想象故事的能力的根本目的是展示如何将两者重新整合。
Self: term used by Jung and others to identify that deeper centre of the human personality which connects us with our selfless core instincts. It is the Self which links us with the totality of life outside the demands of the ego. The underlying purpose of our ability to imagine stories is to show how the two can be re-integrated.
黑暗与光明：故事区分人物是以自我还是自我为中心的手段。
Dark and Light: the means whereby stories distinguish whether a character is centred on the ego or the Self.
故事中的“黑暗人物”（最明显的例子是“怪物”）都是以自我为中心、无情的，并且在某种程度上对周围世界的现实视而不见。这象征着自我扭曲感知和限制理解的力量。
‘Dark figures’ in stories (exemplified most obviously in the ‘monster’) are egocentric, heartless and in some way blind to the reality of the world around them. This symbolises the power of the ego to distort perception and limit understanding.
故事中的“光”象征着将人物与自我联系起来的力量。
The ‘light’ in stories symbolises the power connecting a character to the Self.
所有的原型人物都有“光明”和“黑暗”的一面。
All the archetypal figures have both ‘light’ and ‘dark’ aspects.
Fantasy: make-believe or wishful thinking originating from the ego, essentially different in character from imagination.
幻想周期：五个阶段的模式，当逼迫其结束时，它塑造了实现基于自我的幻想的尝试（期待-梦想阶段-沮丧-噩梦阶段-毁灭）。悲剧的基础。
Fantasy cycle: the five-stage pattern which shapes the attempt to live out an ego-based fantasy when pressed to its conclusion (Anticipation – Dream Stage – Frustration – Nightmare Stage – Destruction). The basis of Tragedy.
Nyktomorph：字面意思是“夜间形状”。该术语用于描述幻想以不完整的图像为食的方式，由于缺乏足够的信息来完全解决这些问题，因此对思想发挥了暗示作用。这有助于理解基于幻想的故事讲述（例如恐怖故事、色情故事）的吸引力背后的心理机制。
Nyktomorph: literally a ‘night shape’. Term used to describe the way in which fantasy feeds on incomplete images, which exercise their suggestive power over the mind from the fact that it lacks enough information fully to resolve them. This is helpful to understanding the psychological mechanism behind the appeal of fantasy-based storytelling, e.g. horror stories, pornography.
男性和女性：本书中使用的术语具有特定含义，与某人外表上是男性还是女性无关。男人或女人可以同时表现出“男性”和“女性”属性（或缺乏这些属性）。
Masculine and Feminine: terms used in this book in a specific sense, unconnected to whether someone is outwardly male or female. A man or a woman can display both ‘masculine’ and ‘feminine’ attributes (or the lack of them).
“男性价值观”与权力或力量以及人类心灵的秩序或“理性”功能有关。这些很自然地与自我意识结盟。
The ‘masculine values’ relate to power or strength, and to the ordering or ‘rational’ function of the human mind. These can most naturally become allied to ego-consciousness.
植根于自我的“女性价值观”代表着无私或同情的感觉和直觉的理解，以及“看到整体”的能力。
The ‘feminine values’, rooted in the Self, represent selfless or sympathetic feeling and intuitive understanding, the ability to ‘see whole’.
阿尼玛：荣格的术语，用于定义男性心理中的女性成分，它塑造了他对异性的反应以及他与“女性价值观”的关系。体现女性价值的阿尼玛人物（例如女主角或“公主”）在故事讲述中发挥着核心作用。
Anima: Jung’s term to define the feminine component in a man’s psyche which shapes his response to the opposite sex and his relationship to the ‘feminine values’. Anima-figures personifying the feminine value (such as the heroine or a ‘Princess’) play a central part in storytelling.
阿尼姆斯：女性心灵中相应的男性成分。这同样决定了她与男性和“男性价值观”的关系。在以女英雄为中心人物的故事中，阿尼姆斯由英雄（或“王子”）人格化。
Animus: the corresponding masculine component in a woman’s psyche. This similarly determines her relationship to the male sex and to the ‘masculine values’. In stories where the central figure is a heroine, the animus is personified by the hero (or a ‘Prince’).
黑暗男性能量：这代表了当权力和秩序与女性联系被切断并以自我为中心时的男性价值观。
Dark Masculine: this represents the masculine values of power and order when they are cut off from the connecting feminine and centred on the ego.
黑暗女性气质：这代表了被自我接管时的女性气质。在“女性化”特质的外在表现背后，它被黑暗的男性气质所驱动。
Dark Feminine: this represents the feminine when it is taken over by the ego. Behind an outward show of ‘feminine’ attributes, it becomes driven by the dark masculine.
“未实现的价值”：用于描述故事中“黑暗人物”（例如“黑暗父亲”、“黑暗母亲”、“黑暗另一个自我”、“黑暗另一半”）代表这些人物的负面版本的方式的术语男女主人公必须积极培养自己的品质，才能达到成熟，从而达到“幸福的结局”。
‘Unrealised value’: term used to describe the way in which ‘dark figures’ in stories (e.g. ‘Dark Father’, ‘Dark Mother’, ‘Dark Alter-ego’, ‘Dark Other Half’) represent the negative version of those qualities which the hero or heroine must make positive in themselves to achieve maturity and thus to reach a ‘happy ending’.
阴影：荣格的术语，用来描述当心灵发展变得不平衡和“一边倒”时发挥作用的负面元素。“阴影”包括所有自我意识不知道的元素。这可能会导致“阴影投射”到其他人身上（见下文）。当人们的意识受到这些限制时，他们就会“陷入阴影”（参见悲剧）。
Shadow: Jung’s term to describe the negative elements called into play when psychic development becomes unbalanced and ‘one-sided’. The ‘shadow’ includes all those elements of which ego-consciousness is not aware. This may result in ‘projection of the shadow’ onto others (see below). When people are caught out by these limitations on their awareness they ‘fall into their shadow’ (see Tragedy).
投射：心灵将那些本应是内在的原型元素“投射”到外部世界的能力。例如，当某人愚蠢地坠入爱河时，我们会谈论“阿尼玛投射”；或“阴影投射”，当人们对那些体现自己缺点的人表现出非理性的对抗时（“微粒和光束综合症”）。
Projection: the ability of the psyche to ‘project’ onto the external world those archetypal elements which should be internal. E.g. we talk of ‘anima projection’ when someone falls foolishly in love; or ‘shadow projection’ when people display irrational antagonism to those who embody their own failings (‘mote and beam syndrome’).
自我/自我困惑：描述了无意识的过程，在这个过程中，以自我为代表的整体性冲动可能被自我（个人或集体）劫持。这导致“自我膨胀”，因为自我随后声称在某些更高的、无私的事业中采取行动具有道德优越感。对于理解广泛的社会和政治现象，从宗教中的清教徒自以为是到马克思主义，从更极端的环保主义形式到政治正确性，都是无价的。
Ego/Self confusion: describes the unconscious process whereby the urge to totality represented by the Self can be hijacked by the ego (individually or collectively). This leads to ‘ego inflation’, as the ego then claims the moral superiority of acting in some higher, selfless cause. Invaluable to understanding a wide range of social and political phenomena, from puritanical self-righteousness in religion to Marxism, from the more extreme forms of environmentalism to political correctness.
多愁善感：“自我/自我困惑”的另一种表达，自我喜欢与自我相关的非自我中心品质的虚构版本。它呈现出它们的外在形式，但与它们的内在现实分离。正如好莱坞早已发现的那样，任何爱的情感都可以通过这种方式被感伤地运用，例如男人和女人之间的爱、父母和孩子之间的爱、对国家、自然或上帝的爱。有助于理解所有类型的基于幻想的故事讲述和艺术的吸引力。
Sentimentality: another expression of ‘ego/Self confusion’, where the ego enjoys a make-believe version of non-egocentric qualities associated with the Self. It takes on their outward form, but separated from their inner reality. As Hollywood long since discovered, any loving emotion can be sentimentally appropriated in this way, such as love between man and woman, between parents and children, love of country, nature or God. Helpful in understanding the appeal of all types of fantasy-based storytelling and art.
劣等：弥补因心理片面性而造成的缺陷所需的积极因素，常常会以某种“劣等”（即不发达、软弱或扭曲）的形式出现。因此，他们指出需要有意识地发展以实现整合（例如民间故事中“乐于助人的动物”所扮演的角色）。
Inferior: the positive elements needed to make up a deficiency caused by psychological one-sidedness may often appear in some ‘inferior’ (i.e. undeveloped, weak or distorted) form. They thus point up that which needs to be consciously developed for integration to be achieved (e.g. the role played by ‘helpful animals’ in folk tales).
线上方/线下方：讲故事的核心重要特征，它显示了故事的“小世界”，分为两个层次。用原型术语来说，这种分裂代表了自我意识造成的心理分裂。
Above the Line/Below The Line: centrally important feature of storytelling which shows the ‘little world’ of a story divided onto two levels. In archetypal terms, this division represents the psychic split created by ego-consciousness.
在“线之上”，我们最初看到的是占主导地位的“黑暗”角色，他们的自我中心让那些代表“光明”的角色在“线之下”陷入阴影。故事的原型结构展示了这些“光”元素最终从阴影中显现出来，消除了自我中心的扭曲，从而将两个层面整合在一起。
‘Above the line’ we see initially dominant ‘dark’ characters whose egocentricity throws into shadow ‘below the line’ those characters who represent the ‘light’. The archetypal structure of stories shows these ‘light’ elements finally emerging from the shadows, to eliminate the distortions of egocentricity and thus to integrate the two levels.
统治意识：集体自我意识的状态，它是每个社会群体的特征，建立其普遍的态度和价值观。由于自我意识在定义上是“片面的”，因此它总是会投下阴影，（a）它投射到其他群体上，（b）掩盖那些“线下”群体的成员，他们代表了其统治中缺失的价值观心态。
Ruling Consciousness: the state of collective ego-consciousness which characterises every social group, establishing its prevailing attitudes and values. Since ego-consciousness is by definition ‘one-sided’, this invariably casts a shadow which (a) it projects onto other groups, and (b) obscures those members of the group ‘below the line’ who represent values missing from its ruling mindset.
“心的改变”：故事中的核心主题，展示了“黑暗”角色转向“光明”一面的过程。这总是涉及感觉和意识的根本转变。心向无私的感觉敞开，眼睛向客观的理解或“看到整体”敞开。
‘Change of Heart’: centrally important motif in stories, showing the process whereby a ‘dark’ character may switch to the side of ‘light’. This invariably involves a radical shift in both feeling and awareness. The heart is opened to selfless feeling, and the eyes to objective understanding or ‘seeing whole’.
惊心动魄的死里逃生：故事中（尤其是在高潮时）最常用的手段之一，展示男女主人公奇迹般地逃离“黑暗力量”的魔掌。
Thrilling Escape From Death: one of the commonest devices used in a story (particularly at its climax), to show the hero or heroine miraculously escaping from the clutches of the ‘dark power’.
典型的幸福结局：一个故事要达到完全的“幸福结局”，男性和女性价值观必须达到完美的平衡。这是一个男人和一个女人在爱的结合中聚集在一起的形象，代表着与自我的融合。
The Archetypal Happy Ending: for a story to reach a completely ‘happy ending’ the masculine and feminine values must be brought into perfect balance. This is supremely symbolised by the image of a man and a woman being brought together in loving union, representing integration with the Self.
参考书目
Bibliography
本书中作为例子引用的数百个个人故事中的大多数都没有在这里列出，因为它们要么非常出名，已经出版了许多版本，要么以非文学形式为人所熟知，如电影、歌剧或芭蕾舞。然而，我收录了一些并非源自英语的故事，以指定所使用的翻译（尽管即使在这里，翻译有时也会进行非常轻微的修改，以澄清其含义，与原文保持一致）。
Most of the hundreds of individual stories cited in this book as examples are not listed here, because either they are so well-known that they have been published in many editions, or they are more familiar in non-literary form, as films, operas or ballets. I have, however, included a number of stories which did not originate in English, to specify the translations used (although even here the translations have on occasion been very slightly modified, to clarify their meaning in sympathy with the original text).
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Afanas’ev, Alexsandr, Russian Fairy Tales, translated by Norbert Guterman, Sheldon Press, London, 1976.
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Apuleius, The Golden Ass, translated byRobert Graves, Penguin Classics, 1950.
阿里斯托芬，《黄蜂》和《诗人与妇女》 （Thesmophoriazusae），大卫·巴雷特翻译，企鹅经典，1964 年。
Aristophanes, The Wasps and The Poet and the Women (Thesmophoriazusae), translated by David Barrett, Penguin Classics, 1964.
阿里斯托芬，《吕西斯特拉塔》，艾伦·H·索默斯坦翻译，企鹅经典，1973 年。
Aristophanes, Lysistrata, translated by Alan H. Sommerstein, Penguin Classics, 1973.
亚里士多德，《诗学》，TS Dorsch 翻译，企鹅经典，伦敦，1965 年。
Aristotle, The Poetics, translated by T. S. Dorsch, Penguin Classics, London, 1965.
塞缪尔·贝克特，《等待戈多》，Faber 和 Faber，伦敦，1955 年。
Beckett, Samuel, Waiting For Godot, Faber and Faber, London, 1955.
《贝奥武甫》，大卫·赖特翻译，企鹅经典，1957 年。
Beowulf, translated by David Wright, Penguin Classics, 1957.
布鲁诺·贝特尔海姆，《魔法的用途：童话故事的意义和重要性》，泰晤士河和哈德逊河，伦敦，1976 年。
Bettelheim, Bruno, The Uses of Enchantment: The Meaning and Importance of Fairy Tales, Thames and Hudson, London, 1976.
克里斯托弗·布克，《新迷恋者：对 20 世纪 50 年代和 1960 年代英国生活革命的研究》，柯林斯，伦敦，1969 年。
Booker, Christopher, The Neophiliacs: A Study of the Revolution in English Life in the 1950s and 1960s, Collins, London, 1969.
克莱恩·布林顿，《革命的解剖》，WW·诺顿。纽约，1938 年。
Brinton, Crane, The Anatomy of Revolution, W. W. Norton. New York, 1938.
约瑟夫·坎贝尔，《千面英雄》，博林根基金会，纽约，1949 年。
Campbell, Joseph, The Hero With A Thousand Faces, Bollingen Foundation, New York, 1949.
卡内蒂，埃利亚斯，《马拉喀什之声》，马里昂·博雅尔斯，伦敦，1978 年
Canetti, Elias, The Voices of Marrakesh, Marion Boyars, London, 1978
安东·契诃夫，《戏剧》，伊丽莎白·芬翻译，企鹅经典，1959 年。
Chekhov, Anton, Plays, translated by Elizaveta Fen, Penguin Classics, 1959.
但丁，阿利吉耶里，《神曲》（3 卷），Dorothy L. Sayers 翻译，企鹅经典，1955 年。
Dante, Alighieri, The Divine Comedy (3 vols.), translated by Dorothy L. Sayers, Penguin Classics, 1955.
罗伯特·多宁顿，《瓦格纳的指环及其符号》，Faber 和 Faber，伦敦，1963 年。
Donington, Robert, Wagner’s Ring and Its Symbols, Faber and Faber, London, 1963.
Edinger, Edward F.，《自我与原型》，Pelican Books，1973 年。
Edinger, Edward F., Ego and Archetype, Pelican Books, 1973.
莱斯利·费德勒，《美国小说中的爱与死亡》，乔纳森·开普，伦敦，1967 年。
Fiedler, Leslie, Love and Death In The American Novel, Jonathan Cape, London, 1967.
诺斯罗普·弗莱，《批评剖析》，普林斯顿大学出版社，1957 年
Frye, Northrop, Anatomy of Criticism, Princeton University Press, 1957
吉尔伽美什，史诗，NK Saunders 的英文版，企鹅经典，1960 年。
Gilgamesh, The Epic of, an English version by N. K. Saunders, Penguin Classics, 1960.
罗伯特·吉廷斯，《小哈代和老哈代》，海涅曼，伦敦，1975/1978。
Gittings, Robert, The Younger Hardy and The Older Hardy, Heinemann, London, 1975/1978.
歌德，JW，《少年维特之烦恼》，凯瑟琳·哈特翻译，纽约新美国图书馆（Signet Classic），1962 年。
Goethe, J. W., The Sorrows of Young Werther, translated by Catherine Hutter, New American Library (Signet Classic) New York, 1962.
罗伯特·格雷夫斯，《希腊神话》，Pelican Books，伦敦，1955 年
Graves, Robert, The Greek Myths, Pelican Books, London, 1955
格林、雅各布和威廉，《格林童话全集》，Routledge 和 Kegan Paul，伦敦，1975 年，
Grimm, Jakob and Wilhelm, The Complete Grimm’s Fairy Tales, Routledge and Kegan Paul, London, 1975,
阿曼达·霍顿（主编），《企鹅歌剧指南》，企鹅图书，1997 年。
Holden, Amanda (ed.), The Penguin Opera Guide, Penguin Books, 1997.
理查德·福尔摩斯，雪莱：追击，魏登菲尔德和尼科尔森，1974 年。
Holmes, Richard, Shelley: The Pursuit, Weidenfeld and Nicolson, 1974.
荷马，《奥德赛》，EV Rieu 翻译，企鹅经典，1946 年。
Homer, The Odyssey, translated by E. V. Rieu, Penguin Classics, 1946.
亨里克·易卜生、皮尔·金特，彼得·瓦茨翻译，企鹅经典，1966 年
Ibsen, Henrik, Peer Gynt, translated by Peter Watts, Penguin Classics, 1966
詹姆斯先生，《鬼故事》，爱德华·阿诺德，1931 年。
James, M. R., The Ghost Stories, Edward Arnold, 1931.
Jung, Carl，全集，1953-1979 年由 Routledge, Kegan Paul（伦敦）出版，特别是：卷。5（二）、转变的象征；第 6 卷，心理类型；Vol.7，两篇分析心理学论文；第 8 卷，心灵的结构与动力学；卷。9（I），原型和集体无意识；卷。9（二），永恒之塔；卷。10、转型中的文明。
Jung, Carl, Collected Works, published 1953–1979 by Routledge, Kegan Paul (London), particularly: Vol. 5 (II), Symbols of Transformation; Vol.6, Psychological Types; Vol.7, Two Essays On Analytical Pychology; Vol.8, The Structure And Dynamics Of The Psyche; Vol. 9 (I), The Archetypes And The Collective Unconscious; Vol. 9 (II), Aion; Vol. 10, Civilisation In Transition.
莎拉·凯恩《该死》，《现代戏剧：1980 年代和 1990 年代的戏剧》，《梅休因现代戏剧书》，梅休因，伦敦，2001 年
Kane, Sarah, Blasted, Modern Drama: Plays of the 1980s and 1990s, the Methuen Book of Modern Drama, Methuen, London, 2001
兰斯林·格林，罗杰，《挪威人的神话》，Puffin Books，伦敦，1960 年
Lancelyn Green, Roger, Myths of the Norsemen, Puffin Books, London, 1960
老子，《道德经》，DC Lau 译，企鹅经典，伦敦，1963 年。
Lao Tzu, Tao Te Ching, translated by D. C. Lau, Penguin Classics, London, 1963.
拉鲁斯神话百科全书，巴奇沃斯出版社，伦敦，1959 年
Larousse Encyclopaedia of Mythology, Batchworth Press, London, 1959
劳伦斯，DH，《查泰莱夫人的情人的提议》，企鹅出版社，1961 年。
Lawrence, D. H., A Propos of Lady Chatterley’s Lover, Penguin Books, 1961.
劳伦斯，DH，《美国古典文学研究》，企鹅图书，伦敦，1971 年。
Lawrence, D. H., Studies in Classical American Literature, Penguin Books, London, 1971.
Longus、Daphnis 和 Chloe，保罗·特纳翻译，企鹅经典，1956 年
Longus, Daphnis and Chloe, translated by Paul Turner, Penguin Classics, 1956
乔治·卢卡斯，《星球大战》小说，百龄坛书店，纽约，1976 年。
Lucas, George, Star Wars, A Novel, Ballantine Books, New York, 1976.
托马斯·曼恩《浮士德博士》，由 HT Lowe-Porter、Secker 和 Warburg 翻译，伦敦，1949 年。
Mann, Thomas, Doctor Faustus, translated by H. T. Lowe-Porter, Secker and Warburg, London, 1949.
毛姆，萨默塞特，十部小说及其作者，海涅曼，1954 年。
Maugham, Somerset, Ten Novels And Their Authors, Heinemann, 1954.
米南德，《戏剧和片段》，菲利普·维拉科特翻译，企鹅经典，1967 年。
Menander, Plays and Fragments, translated by Philip Vellacott, Penguin Classics, 1967.
莫里哀，《守财奴和其他戏剧》，约翰·伍德翻译，企鹅经典，1953 年。
Moliere, The Miser and Other Plays, translated by John Wood, Penguin Classics, 1953.
莫里哀，《厌世者和其他戏剧》，约翰·伍德翻译，企鹅经典，1959 年。
Moliere, The Misanthrope and Other Plays, translated by John Wood, Penguin Classics, 1959.
刘易斯·芒福德，《历史上的城市》，Pelican Books，伦敦，1966 年。
Mumford, Lewis, The City In History, Pelican Books, London, 1966.
埃里希·诺依曼，《伟大的母亲原型》，Routledge，Kegan Paul，伦敦，1955 年。
Neumann, Erich, The Great Mother Archetype, Routledge, Kegan Paul, London, 1955.
埃里希·诺依曼，《意识的起源和历史》，普林斯顿大学，1954 年。
Neumann, Erich, The Origins And History of Consciousness, Princeton University, 1954.
奥佩、彼得和艾奥娜，《经典童话》，牛津大学出版社，1974 年。
Opie, Peter and Iona, The Classic Fairy Tales, Oxford University Press, 1974.
画家，乔治，马塞尔·普鲁斯特：传记（2 卷），Chatto 和 Windus，1959 年。
Painter, George, Marcel Proust: A Biography (2 vols.), Chatto and Windus, 1959.
约翰·皮尔森，《伊恩·弗莱明的一生》，开普敦，伦敦，1966 年
Pearson, John, The Life of Ian Fleming, Cape, London, 1966
路易吉·皮兰德娄，《三部曲》，JM Dent，伦敦，1929 年。
Pirandello, Luigi, Three Plays, J. M. Dent, London, 1929.
柏拉图《理想国》，HDP Lee 翻译，企鹅经典（伦敦，1955 年）。
Plato, The Republic, translated by H. D. P. Lee, Penguin Classics (London, 1955).
普劳图斯，《金罐和其他戏剧》，EF Watling 翻译，企鹅经典，1975 年。
Plautus, The Pot Of Gold and Other Plays, translated by E. F. Watling, Penguin Classics, 1975.
马里奥·普拉兹，《浪漫的痛苦》，牛津大学出版社，1933 年。
Praz, Mario, The Romantic Agony, Oxford University Press, 1933.
马塞尔·普鲁斯特，《追忆似水年华》（3 卷），由 CK Scott Moncrieff 和 Terence Kilmartin 翻译，Chatto 和 Windus，伦敦，1981 年。
Proust, Marcel, Remembrance of Things Past (3 vols.), translated by C. K. Scott Moncrieff and Terence Kilmartin, Chatto and Windus, London, 1981.
《Quest Of The Holy Grail》，PM Matarasso 翻译，企鹅经典，1969 年。
Quest Of The Holy Grail, translated by P. M. Matarasso, Penguin Classics, 1969.
萨德侯爵，《美德的不幸》，大卫·考沃德译，牛津世界经典，1992 年。
Sade, Marquis de, The Misfortunes of Virtue, translated by David Coward, Oxford World Classics, 1992.
索福克勒斯，《底比斯戏剧》，EF Watling 翻译，企鹅经典，伦敦，1947 年。
Sophocles, The Theban Plays, translated by E. F. Watling, Penguin Classics, London, 1947.
史蒂文·斯皮尔伯格，《第三类接触》，Sphere Books，伦敦，1978 年。
Spielberg, Steven, Close Encounters Of The Third Kind, Sphere Books, London, 1978.
司汤达，《猩红与黑色》 （Le Rouge et Le Noir），玛格丽特·肖翻译，企鹅经典，1953
Stendhal, Scarlet and Black (Le Rouge et Le Noir), translated by Margaret Shaw, Penguin Classics, 1953
《一千零一夜的故事》，NJ Dawood 翻译，企鹅经典，伦敦，1955 年。
Tales From The Thousand and One Nights, translated by N. J. Dawood, Penguin Classics, London, 1955.
迈克尔·托马塞洛，《人类认知的文化起源》，哈佛大学出版社，2000 年。
Tomasello, Michael, The Cultural Origins of Human Cognition, Harvard University Press, 2000.
《奥义书》，胡安·马斯卡罗翻译，企鹅经典，伦敦，1965 年。
Upanishads, The, translated by Juan Mascaro, Penguin Classics, London, 1965.
范德波斯特，劳伦斯，《猎人的心》，霍加斯出版社，1968 年。
Van der Post, Laurens, The Heart Of The Hunter, Hogarth Press, 1968.
范德波斯特，劳伦斯（与简·泰勒），《布须曼人的遗嘱》，维京人，伦敦，1984 年。
Van der Post, Laurens (with Jane Taylor), Testament To The Bushmen, Viking, London, 1984.
维吉尔，《埃涅阿斯纪》，W. Jackson Knight 译，企鹅经典，伦敦，1956 年。
Virgil, The Aeneid, translated by W. Jackson Knight, Penguin Classics, London, 1956.
约翰·维维安，《莎士比亚伦理》，查托和温杜斯，1959 年。
Vyvyan, John, The Shakespearian Ethic, Chatto and Windus, 1959.
劳伦斯·惠斯勒，《玻璃上的场景和标志》，约翰·默里，1985 年。
Whistler, Laurens, Scenes and Signs on Glass, John Murray, 1985.
爱德华·惠特蒙特，《象征性探索》，巴里和洛克利夫，伦敦，1969 年。
Whitmont, Edward, The Symbolic Quest, Barrie and Rockliff, London, 1969.
埃德蒙·威尔逊，《经典与商业：1940 年代的文学编年史》，WH Allen，伦敦，1950 年。
Wilson, Edmund, Classics and Commercials: A Literary Chronicle of the 1940s, W. H. Allen, London, 1950.
引用故事索引
Index of Stories Cited
绝对初学者，674
Absolute Beginners, 674
Admirable Crichton, The, 90, 96, 98
夜幕降临前，473
Afore Night Come, 473
阿伽门农，188
Agamemnon, 188
阿依达，404
Aida, 404
机场, 47
Airport, 47
Aladdin, and The Enchanted Lamp, 17, 52, 55
分析, 60 –63, 218 , 221 , 232 , 242 –243, 270 , 277 –278, 353 , 512 , 564
analysis, 60–63, 218, 221, 232, 242–243, 270, 277–278, 353, 512, 564
亚历山大·涅夫斯基, 669 fn
Alexander Nevsky, 669fn
爱丽丝梦游仙境, 5 , 17 , 87 , 88 , 96 , 97 , 98 , 209 , 251 , 396
Alice In Wonderland, 5, 17, 87, 88, 96, 97, 98, 209, 251, 396
一切都好，结局好，120
All’s Well That Ends Well, 120
艾玛迪斯，387 –388
Amadeus, 387–388
阿姆莱斯，529 –530
Amleth, 529–530
Ancient Mariner, The Rime of the, 87, 91, 102, 212, 251
安德里亚，111
Andria, 111
安德鲁克里斯和狮子, 26 fn
Androcles and The Lion, 26fn
安娜·卡列尼娜, 4 , 153 , 162 –164 , 259 –260 , 267 , 335 , 338 –339 , 342 , 577 , 655
Anna Karenina, 4, 153, 162–164, 259–260, 267, 335, 338–339, 342, 577, 655
安西娅和哈布罗科姆斯, 122 fn
Anthia and Habrocomes, 122fn
安东尼和克利奥帕特拉, 166 –168, 259 , 262 , 339 –340, 577
Antony and Cleopatra, 166–168, 259, 262, 339–340, 577
Around The World In 80 Days, 84–85
亚瑟. 见亚瑟王
Arthur. See King Arthur
黑木耳。见第一桶金
Aurularia. See The Pot of Gold
Babar and Father Christmas, 84, 391, 566
Barber of Seville, The, 291fn, 303
不列颠之战，35
Battle of Britain, The, 35
战列舰波将金号，669 fn
Battleship Potemkin, 669fn
宾虚，670
Ben Hur, 670
Benny Goodman Story, The, 59–60, 372–373
美女与野兽, 195 –196, 205 , 231 , 260 , 263 , 308
Beauty and The Beast, 195–196, 205, 231, 260, 263, 308
甲虫女人，（布须曼人的故事），287 –288
Beetle Woman, The (Bushman story), 287–288
美丽的朋友，369 –370
Bel Ami, 369–370
贝尔与龙，505 –506
Bel and the Dragon, 505–506
贝奥武甫, 1 , 5 , 25 , 245 , 273 , 379 , 623 –624
Beowulf, 1, 5, 25, 245, 273, 379, 623–624
Billy Goats Gruff, The, 217–218, 230
黑板丛林，673
Blackboard Jungle, 673
已爆破，490 –491
Blasted, 490–491
蓝胡子, 313
Bluebeard, 313
蓝灯，671
Blue Lamp, The, 671
邦妮和克莱德, 4 , 160 –161, 259 , 262 , 409 , 482 , 577
Bonnie and Clyde, 4, 160–161, 259, 262, 409, 482, 577
博斯科姆谷之谜，512
Boscombe Valley Mystery, The, 512
布尔乔亚绅士，Le，122
Bourgeois Gentilhomme, Le, 122
来自锡拉丘兹的男孩，112
Boys From Syracuse, The, 112
美丽新世界, 495 , 497 –499 , 503 , 663 –664
Brave New World, 495, 497–499, 503, 663–664
呼吸, 445
Breath, 445
气喘吁吁（Au Bout de Souffle），675
Breathless (Au Bout de Souffle), 675
故园重访, 5 , 87 , 93 , 96 , 98 , 103 , 396
Brideshead Revisited, 5, 87, 93, 96, 98, 103, 396
相见恨晚, 103fn _
Brief Encounter, 103fn
Brothers Karamazov, The, 499fn, 515fn
请叫我女士, 670
Call Me Madam, 670
卡农·阿尔伯里克的剪贴簿，26 –27
Canon Alberic’s Scrap Book, 26–27
卡门, 4 , 159 –160, 183 , 259 , 262 , 407
Carmen, 4, 159–160, 183, 259, 262, 407
卡萨布兰卡, 383
Casablanca, 383
皇家赌场, 38
Casino Royale, 38
城堡，51
Castle, The, 51
Castle of Otranto, The, 26, 649
Catcher In The Rye, 347, 394–395
圣诞颂歌，A，198 –199, 232 , 261 , 263 , 273
Christmas Carol, A, 198–199, 232, 261, 263, 273
“基督神话”，615
‘Christ Myth’, The, 615
灰姑娘, 10 , 52 , 54 , 58 , 195 , 222 , 231 , 234 , 241 –242 , 267 , 270 , 273 , 277 –278 , 281 –282 , 302 , 640
Cinderella, 10, 52, 54, 58, 195, 222, 231, 234, 241–242, 267, 270, 273, 277–278, 281–282, 302, 640
公民凯恩，509 –510
Citzen Kane, 509–510
发条橙, A , 482 –483, 494 , 678 , 686
Clockwork Orange, A, 482–483, 494, 678, 686
Close Encounters of the Third Kind, 347, 446–448
鸡尾酒会，671
Cocktail Party, The, 671
科尔迪兹的故事，85 fn
Colditz Story, The, 85fn
人间喜剧，La，135
Comedie Humaine, La, 135
即将播出，390 –391
Coming Up For Air, 390–391
波佩亚加冕，649
Coronation of Poppea, The, 649
加冕街690号
Coronation Street, 690
科西范图特, 401
Cosi Fan Tutte, 401
‘Creation Myths’: Judaeo-Christian, 544, 612
其他544 –546
others 544–546
罪与罚, 200 –202, 236 , 260 , 264 , 297
Crime and Punishment, 200–202, 236, 260, 264, 297
鳄鱼邓迪, 239 –240, 257 , 267 , 300 , 690
Crocodile Dundee, 239–240, 257, 267, 300, 690
随着时间的音乐起舞，691
Dance To The Music of Time, 691
Daphnis and Chloe, 112–113, 121
大卫（和歌利亚）, 24 , 181 –182, 220 , 222 , 245 , 284 –285, 303 , 379 , 546 , 613
David (and Goliath), 24, 181–182, 220, 222, 245, 284–285, 303, 379, 546, 613
大卫·科波菲尔, 53 –54, 221 , 241 –242, 243 , 289 , 302 –303, 353 , 371 , 564 , 701
David Copperfield, 53–54, 221, 241–242, 243, 289, 302–303, 353, 371, 564, 701
Day Of The Triffids, The, 40, 672
衰落与衰落，93
Decline and Fall, 93
坠入漩涡, 46
Descent to the Maelstrom, 46
魔鬼（群魔），168 –172, 259 , 297 , 340 –342
Devils, The (The Possessed), 168–172, 259, 297, 340–342
钻石与丽兹酒店一样大，92
Diamond As Big As The Ritz, The, 92
Dick Whittington, 56fn, 57–58, 226
《神曲》 , 6 , 69 , 235 fn, 298 , 390 , 566 , 567 , 628 –632
Divine Comedy, The, 6, 69, 235fn, 298, 390, 566, 567, 628–632
化身博士和海德先生, 154 –155, 335 , 587
Dr Jekyll and Mr Hyde, 154–155, 335, 587
浮士德博士（托马斯·曼），653 –654
Dr Faustus (Thomas Mann), 653–654
浮士德博士（马洛），173、174、281、329、334 –335 。 _ _ _ 另见浮士德
Dr Faustus (Marlowe), 173, 174, 281, 329, 334–335. See also Faust
医生编号, 21 –22, 38 , 39 , 245 , 410 , 676
Doctor No, 21–22, 38, 39, 245, 410, 676
索恩医生，136
Doctor Thorne, 136
日瓦戈博士，683 –685
Dr Zhivago, 683–685
唐璜, 168 , 258 , 339 –340 , 364 , 399 , 400
Don Giovanni, 168, 258, 339–340, 364, 399, 400
堂吉诃德，321 –322
Don Quixote, 321–322
德古拉，27 – 28
Dracula, 27–28
东林恩，656 –657
East Lynne, 656–657
东区人, 690
Eastenders, 690
日食，676
Eclipse, The, 676
艾玛, 135 , 257 , 271 , 295 , 300
皇帝的新装，591 fn
Emperor’s New Clothes, The, 591fn
Enemy of the People, An, 571, 591
娱乐斯隆先生，475
Entertaining Mr Sloane, 475
Epitrepontes, The, 111, 121, 123
埃雷洪, 92
Erewhon, 92
parallels with Christ myth, 452fn, 491
尤梅尼德斯，188 –189
Eumenides, The, 188–189
出埃及（犹太人出埃及）, 70 , 72 , 222 , 247 –248, 273 , 389 –390, 612
Exodus (Jews from Egypt), 70, 72, 222, 247–248, 273, 389–390, 612
幻想曲, 177 fn
Fantasia, 177fn
远离尘世, 413 , 414 , 415 –417, 418
Far From The Madding Crowd, 413, 414, 415–417, 418
Faust (legend), 4, 154, 156, 172
浮士德（歌德），183
Faust (Goethe), 183
屋顶上的小提琴手, 593
Fiddler On The Roof, 593
费德里奥，205 –206
Fidelio, 205–206
蝙蝠，死亡，140 –141
Fledermaus, Die, 140–141
四个婚礼和一个葬礼, 6 , 149 , 151 , 257
Four Weddings and a Funeral, 6, 149, 151, 257
弗兰肯斯坦, 26 , 354 –358, 364 , 652
Frankenstein, 26, 354–358, 364, 652
朋友, 690
Friends, 690
青蛙王子，195
Frog Prince, The, 195
来自俄罗斯的爱，410
From Russia With Love, 410
吉尔伽美什史诗, 21 , 70 , 89 , 245 , 358 , 379 , 598 –601
Gilgamesh, Epic of, 21, 70, 89, 245, 358, 379, 598–601
吉赛尔，656
Giselle, 656
之间，93
Go Between, The, 93
金屁股, , 87 , 95 , 96 , 97 , 100 , 102 , 106 , 223 , 251 –252 , 298 , 393
Golden Ass, The, 87, 95, 96, 97, 100, 102, 106, 223, 251–252, 298, 393
Goldilocks and The Three Bears, 42, 87, 89, 216
和三法则，229
and Rule of Three, 229
Gone With The Wind, 396, 666–667
圣杯、寻求神圣、68、70、75、80、222、303、627 _ _ _ _ _ _ _ _
Grail, Quest for the Holy, 68, 70, 75, 80, 222, 303, 627
大逃亡，85 fn
Great Escape, The, 85fn
了不起的盖茨比，663
Great Gatsby, The, 663
古比奥，狼之狼，26 fn
Gubbio, Wolf of, 26fn
猜猜谁来吃晚餐，142 fn
Guess Who’s Coming To Dinner, 142fn
Guns of Navarone, The, 35, 45, 85fn
吉普赛男爵，140 –141
Gypsy Baron, The, 140–141
哈姆雷特, 8 , 153 , 303 , 517 , 529 –540 （原始故事529 –530 ）
Hamlet, 8, 153, 303, 517, 529–540 (original story 529–530)
汉赛尔与格蕾特, 11 , 22 , 216 , 244 , 280
Hansel and Gretel, 11, 22, 216, 244, 280
快乐的日子，445
Happy Days, 445
辛苦的一天之夜，A，677 fn
Hard Day’s Night, A, 677fn
哈利·波特与魔法石, 320和 fn
Harry Potter And The Philosopher’s Stone, 320 and fn
闹鬼的娃娃屋，508 –509
Haunted Dolls House, The, 508–509
问题的核心，671 fn
Heart Of The Matter, The, 671fn
英国皇家海军围裙, 141
HMS Pinafore, 141
亨利五世，669
Henry V, 669
赫拉克勒斯，神话，605 –606
Hercules, myth of, 605–606
泰勒马克英雄, 85 fn
Heroes of Telemark, 85fn
海华沙, 47
Hiawatha, 47
正午, 36 –37, 45 , 247 , 258 , 484 , 670
High Noon, 36–37, 45, 247, 258, 484, 670
上流社会, 148 –149, 257 , 272 , 300
High Society, 148–149, 257, 272, 300
归来，476
Homecoming, The, 476
巴斯克维尔猎犬，511
Hound of the Baskervilles, The, 511
哈克贝利·费恩, 359
Huckleberry Finn, 359
我爱露西，690
I Love Lucy, 690
《游吟诗人》，403
Il Trovatore, 403
Importance Of Being Earnest, The, 141–142, 256
地狱（但丁）629 –630
Inferno, The (Dante) 629–630
无与伦比的吉夫斯，146 –147
Inimitable Jeeves, The, 146–147
进入旋风，685 –686
Into The Whirlwind, 685–686
我们服务的地方，668
In Which We Serve, 668
It’s A Mad, Mad, Mad, Mad World, 71fn, 391
It’s A Wonderful Life, 199fn, 309, 670
伊万和火鸟。见伊凡王子
Ivan and the Firebird. See Prince Ivan
伊万诺夫，426 –427
Ivanov, 426–427
我维泰洛尼，673
I Vitelloni, 673
杰克与魔豆, 22 , 32 , 42 , 49 , 216
Jack And The Beanstalk, 22, 32, 42, 49, 216
and Rule of Three, 230; 244, 277–278
Freudian and Marxist readings of, 571–573; 640
简·爱, 54 , 60 , 63 –65 , 221 , 222 , 232 , 241 –242 , 243 , 258 , 271 , 302 , 353 , 375 , 556 , 564
Jane Eyre, 54, 60, 63–65, 221, 222, 232, 241–242, 243, 258, 271, 302, 353, 375, 556, 564
Jason, myth of, 73, 222, 232, 602
杰基尔和海德。参见杰基尔博士和海德先生
Jekyll and Hyde. See Doctor Jekyll And Mr Hyde
皇冠上的宝石，253
Jewel in the Crown, The, 253
约伯记，495 –497
Job, Book of, 495–497
约翰·吉尔平，民谣，87
John Gilpin, Ballad of, 87
约拿的故事，47
Jonah, story of, 47
约瑟夫的故事, 53 , 58 –59, 243 –244, 304 –305, 612
Joseph, story of, 53, 58–59, 243–244, 304–305, 612
地心之旅，92
Journey to the Centre of the Earth, 92
无名的裘德，306
Jude The Obscure, 306
审判日。参见《终结者》
Judgement Day. See The Terminator
朱尔斯和吉姆，4，161-162，259，262，409，675 _ _ _ _ _ _ _
Jules et Jim, 4, 161–162, 259, 262, 409, 675
Julius Caesar, 166–167, 173, 183
“跳跃的老鼠”（夏延故事），561 –562, 699 –700
‘Jumping Mouse’ (Cheyenne story), 561–562, 699–700
侏罗纪公园, 35
Jurassic Park, 35
贾斯汀（美德之祸） , 386 , 457 –460, 494 , 650
Justine (Misfortunes of Virtue), 386, 457–460, 494, 650
白狮金巴, 286 fn
Kimba The White Lion, 286fn
Kind Hearts and Coronets, 388–389, 671
国王与我，670
King and I, The, 670
King Arthur, story of, 273, 297
《李尔王》 , 69 , 184 –185, 226 , 232 , 258 –259, 260 , 308 , 399
King Lear, 69, 184–185, 226, 232, 258–259, 260, 308, 399
所罗门王的矿井, 69 , 72 –73, 80 –81, 232 , 248 , 303
King Solomon’s Mines, 69, 72–73, 80–81, 232, 248, 303
吻我凯特，670
Kiss Me Kate, 670
纳克，677 fn
Knack, The, 677fn
屠宰场，473
Knacker’s Yard, The, 473
克拉普的最后一盘磁带，445
Krapp’s Last Tape, 445
L’Avare (The Miser), 112, 122–123
山茶花女士，386
La Dame Aux Camellias, 386
查泰莱夫人的情人，467 –470
Lady Chatterley’s Lover, 467–470
审判，470 – 471；479、480、494、662 –663、675 _ _ _ _ _ _ _
trial of, 470–471; 479, 480, 494, 662–663, 675
前往布鲁克林的最后一个出口, 475 –476, 481 , 494
Last Exit To Brooklyn, 475–476, 481, 494
最后的莫希干人，383
Last of The Mohicans, 383
Last Tango In Paris, 484, 678, 686
薰衣草山黑帮，671
Lavender Hill Mob, The, 671
交给 Psmith 吧，146
Leave It To Psmith, 146
Le Grand Meaulnes, 103–104, 396
L'Etranger（局外人），441 –442
L’Etranger (The Outsider), 441–442
狮子王，286 –287
Lion King, The, 286–287
Lion, The Witch and The Wardrobe, The, 88, 97, 297
Little Red Riding Hood, 22, 42, 216, 231
和三法则，280
and rule of three, 280
生与死，38
Live And Let Die, 38
洛丽塔, 4 , 154 , 155 , 182 , 335 –336, 471
Lolita, 4, 154, 155, 182, 335–336, 471
愤怒地回头看, 149 , 273 , 489 , 673 , 675 fn
Look Back In Anger, 149, 273, 489, 673, 675fn
Lord of the Flies, The, 90, 96
指环王, 5 , 6 , 8 , 69 , 71 , 87 , 297 –298 , 311
Lord of the Rings, The, 5, 6, 8, 69, 71, 87, 297–298, 311
包括所有七个地块316 –321、383 fn 、404、410、566、648 fn、668、678、694 –695 _ _ _ _ _ _
includes all seven plots 316–321, 383fn, 404, 410, 566, 648fn, 668, 678, 694–695
消失的地平线, 92
Lost Horizon, 92
爱的劳作，114 –115
Love’s Labours Lost, 114–115
Lucia di Lammermoor, 401–402, 463
麦克白, 17 , 154 , 182 , 29 , 226和 fn, 258 –259, 262 , 331 , 333 –334, 409 , 431 , 581
Macbeth, 17, 154, 182, 29, 226 and fn, 258–259, 262, 331, 333–334, 409, 431, 581
包法利夫人, 4 , 153 , 162 , 164 –166, 259 –260, 338 –339, 342 , 577
Madame Bovary, 4, 153, 162, 164–166, 259–260, 338–339, 342, 577
魔笛, 297 , 302 , 312 , 324 –327
Magic Flute, The, 297, 302, 312, 324–327
豪勇七号，35 –36
Magnificent Seven, The, 35–36
Malade Imaginaire，122 –123
Malade Imaginaire, The, 122–123
马龙去世，425
Malone Dies, 425
曼农·莱斯科，407
Manon Lescaut, 407
曼斯菲尔德公园, 134 –135
Mansfield Park, 134–135
马拉/萨德，474
Marat/Sade, The, 474
Marriage of Figaro, The, 107, 125–129, 234
Mayor of Casterbridge, The, 414, 419–420
一报还一报，120 –121
Measure For Measure, 120–121
《名歌手》，《死亡》，139 –140, 256 , 294 –295, 297
Meistersinger, Die, 139–140, 256, 294–295, 297
Merchant of Venice, The, 118–119, 258, 273
变形记, 99 fn
Metamorphosis, 99fn
仲夏夜之梦, A , 107 , 115 –116 , 123 , 151
Midsummer Night’s Dream, A, 107, 115–116, 123, 151
莫尔·弗兰德斯，65 岁
Moll Flanders, 65
太空城, 38
Moonraker, 38
月光石，508
Moonstone, The, 508
捕鼠器，514 –515
Mousetrap, The, 514–515
Much Ado About Nothing, 118–119, 123
罗杰·艾克罗伊德谋杀案，515
Murder of Roger Ackroyd, The, 515
东方快车谋杀案, 515
Murder On The Orient Express, 515
莫格街谋杀案，506 – 507
Murders in the Rue Morgue, The, 506–507
马斯格雷夫仪式，511
Musgrave Ritual, The, 511
窈窕淑女, 51 , 53 , 242 , 375 –377
My Fair Lady, 51, 53, 242, 375–377
埃德温·德鲁德之谜，508
Mystery Of Edwin Drood, The, 508
邻居, 690
Neighbours, 690
新加速器，97
New Accelerator, The, 97
尼古拉斯·尼克尔比, 34 , 244 , 289 , 656
Nicholas Nickleby, 34, 244, 289, 656
歌剧院之夜，A，145
Night At The Opera, A, 145
Night In Casablanca, A, 107, 144
难忘之夜，A，680
Night To Remember, A, 680
19 84 , 6 , 347 , 495 , 499 –502, 664 , 683
Nineteen Eighty Four, 6, 347, 495, 499–502, 664, 683
诺桑觉寺，134
Northanger Abbey, 134
不是我，445
Not I, 445
奥德赛、5、69、70 –71、73、75、221 –222、233、247、248 –250和fn 、 262、267 _ _ _ _ _ _ _ _ _ _ _ _ _
Odyssey, The, 5, 69, 70–71, 73, 75, 221–222, 233, 247, 248–250 and fn, 262, 267
与尤利西斯464相比；466、567、601、603 –604、614 –615、703 _ _ _ _ _ _ _ _
compared with Ulysses 464; 466, 567, 601, 603–604, 614–615, 703
《俄狄浦斯暴君》，侦探小说，8、11、512、517、518 –522、602、616 _ _ _ _ _
Oedipus Tyrannos, as whodunnit, 8, 11, 512, 517, 518–522, 602, 616
Oedipus at Colonus, 522–526, 540
俄克拉荷马州, 670
Oklahoma, 670
老古玩店，656
Old Curiosity Shop, The, 656
伊万·杰尼索维奇一生中的一天，685
One Day In The Life Of Ivan Denisovich, 685
在路上，674
On The Road, 674
吉尔伯特·平福德的磨难，395
Ordeal of Gilbert Pinfold, The, 395
Oresteia, The, 187–189, 512, 607
Orpheus and Eurydice, 83, 103, 104
奥赛罗，404
Otello, 404
奥赛罗, 152 , 259 , 298 , 402 , 652
Othello, 152, 259, 298, 402, 652
我们共同的朋友，136
Our Mutual Friend, 136
局外人， . 参见《陌生人》
Outsider, The. See L’Etranger
油漆你的马车，670
Paint Your Wagon, 670
洞穴寓言（柏拉图），699 –700
Parable of the Cave (Plato), 699–700
帕拉迪索，631 –632
Paradiso, 631–632
帕西法尔627 _
Parsifal, 627
皮姆利科护照，671
Passport To Pimlico, 671
我的爱国者，A，476
Patriot For Me, A, 476
皮尔·金特, 208 –213, 227 , 260 , 261 , 263 –264, 271 , 321
Peer Gynt, 208–213, 227, 260, 261, 263–264, 271, 321
高老头神父, 352 –354
Pere Goriot, 352–354
伯里克利，588
Pericles, 588
说服，135
Persuasion, 135
珀尔修斯，神话，18、23 –24、25和fn、28、245、270、277 –278、602、603、616 _ _ _ _ _ _ _ _
Perseus, myth of, 18, 23–24, 25 and fn, 28, 245, 270, 277–278, 602, 603, 616
Peter Pan, 5, 88–89, 96, 97, 98
彼得兔, 5 , 87 , 89 , 99 , 216 , 230 –231, 233 , 251 –252, 302 , 283 –284, 313
Peter Rabbit, 5, 87, 89, 99, 216, 230–231, 233, 251–252, 302, 283–284, 313
费城故事，148 –149
Philadelphia Story, The, 148–149
道林·格雷( Dorian Gray )的图片，153、158 –159、182、281、387
Picture Of Dorian Gray, The, 153, 158–159, 182, 281, 387
天路历程, 69 , 72 , 75 , 222 , 566 fn
Pilgrim’s Progress, 69, 72, 75, 222, 566fn
彭赞斯海盗，141
Pirates of Penzance, The, 141
坑与钟摆，379
Pit and the Pendulum, The, 379
诗人和妇女，（Thesmophoriazusae），109 , 688
Poet and The Women, The (Thesmophoriazusae), 109, 688
一罐金子，（Aurularia），110
Pot Of Gold, The (Aurularia), 110
权力与荣耀，671 fn
Power And The Glory, The, 671fn
惊魂记, 472 –473, 480 , 485 , 494 , 675
Psycho, 472–473, 480, 485, 494, 675
Pride And Prejudice, 119fn, 133–134, 256
Prince Ivan And The Firebird, 311, 312–315
私人生活，148
Private Lives, 148
Prodigal Son, parable of the, 87, 99
炼狱，630 –631
Purgatorio, 630–631
Quatermass stories, 41–42, 246
Raiders Of The Lost Ark, 69, 388
后窗, 510 fn
Rear Window, 510fn
无因的叛逆，673
Rebel Without A Cause, 673
乔治六世国王的统治，497 fn
Reign Of King George VI, 497fn
追忆逝去的时光( Recherche du Temps Perdu ), 425 , 432 –438
Remembrance of Time Past (Recherche du Temps Perdu), 425, 432–438
斥力，678
Repulsion, 678
Return of the Native, The, 414, 418
理查三世, 153 , 181 –182, 331 , 577 , 581
Richard III, 153, 181–182, 331, 577, 581
沙之谜，247 fn
Riddle Of The Sands, The, 247fn
Rigoletto, 402–403, 463, 649, 656
尼伯龙根之戒，404 –406
Ring of the Nibelungen, 404–406
春之祭，660
Rite of Spring, The, 660
对手，124
Rivals, The, 124
罗宾汉传奇，273、302、311、315 –316 _ _ _ _
Robin Hood, legend of, 273, 302, 311, 315–316
鲁宾逊漂流记, 5 , 90 , 96 , 100 , 101 , 102 , 106 , 233
Robinson Crusoe, 5, 90, 96, 100, 101, 102, 106, 233
全天候摇滚，673
Rock Around The Clock, 673
罗马假日, 104 fn
Roman Holiday, 104fn
Romeo and Juliet, 4, 189–190, 402
顶层房间，371 –372
Room At The Top, 371–372
罗斯玛丽的婴儿，678
Rosemary’s Baby, 678
玫瑰骑士, Der , 139 –140, 256 , 294
Rosenkavalier, Der, 139–140, 256, 294
《红与黑》，《Le》。参见《猩红与黑色》
Rouge et Le Noir, Le. See Scarlet and The Black, The
Saint George and the Dragon, 25–26, 245
Samson, story of, 186–187, 260, 584
已保存, 476 –477, 481 , 494 , 677
猩红与黑色, 67 , 348 –352 , 368 –369, 577 , 652 , 675 fn
Scarlet And The Black, The, 67, 348–352, 368–369, 577, 652, 675fn
辛德勒的名单, 582 fn
Schindler’s List, 582fn
丑闻学校, 124 –125, 132 , 256 , 281
School For Scandal, 124–125, 132, 256, 281
海鸥，427 –428
Seagull, The, 427–428
Secret Garden, The, 206–208, 234, 272
理智与情感，134
Sense And Sensibility, 134
塞拉利奥, 291 fn
Seraglio, The, 291fn
比尔科中士，587
Sergeant Bilko, 587
七武士，35
Seven Samurai, The, 35
斯福尔扎德尔目的地，洛杉矶，403
Sforza del Destino, La, 403
她屈尊去征服，124
She Stoops To Conquer, 124
射击钢琴家，675
Shoot The Pianist, 675
西西里晚祷，404
Sicilian Vespers, The, 404
塞拉斯·马纳, 202 –203, 206 , 260 , 264
Silas Marner, 202–203, 206, 260, 264
Silence Of The Lambs, The, 486–487, 494
辛普森一家，691 –692
Simpsons, The, 691–692
Singin’ In The Rain, 147, 256, 309
Six Characters In Search Of An Author, 439–440, 657fn
睡美人, 193 –194, 230 fn, 231 , 263 , 270 , 272 , 273
Sleeping Beauty, 193–194, 230fn, 231, 263, 270, 272, 273
雪之女王, 196 –198 , 200 , 205 , 209 , 227 , 260 , 262 , 264 –265, 271
Snow Queen, The, 196–198, 200, 205, 209, 227, 260, 262, 264–265, 271
白雪公主, 194 –195, 218 , 226 , 230 fn, 263 , 270 , 277 –278, 308
Snow White, 194–195, 218, 226, 230fn, 263, 270, 277–278, 308
雪白玫红, 308
Snow White And Rose Red, 308
有些人喜欢热，147 –148
Some Like It Hot, 147–148
魔法师的学徒, 177 fn
Sorcerer’s Apprentice, 177fn
Sorrows Of Young Werther, 399–400, 650
SOS 泰坦尼克号, 680
SOS Titanic, 680
南太平洋670 _
South Pacific, 670
太空商人，503 fn
Space Merchants, The, 503fn
斑点带，511
Speckled Band, The, 511
星球大战, 6 , 42 –45, 245 –246, 273 , 297 , 78
Star Wars, 6, 42–45, 245–246, 273, 297, 78
getting archetypes wrong, 382–383; 449fn, 679
斯特普托父子, 397
Steptoe and Son, 397
学生王子，104 fn
Student Prince, The, 104fn
血字研究，A，508
Study In Scarlet, A, 508
超人，448 –450
Superman, 448–450
苏珊娜和长老们，505 –506
Susanna and The Elders, 505–506
天鹅湖, 656
Swan Lake, 656
荣誉之剑671
Sword Of Honour, 671
驯悍记, 114 –115 , 257 , 271 , 300 , 688
Taming Of The Shrew, The, 114–115, 257, 271, 300, 688
暴风雨, 297 , 311 , 322 –324 , 327 fn, 540
Tempest, The, 297, 311, 322–324, 327fn, 540
Tender Is The Night, 440–441, 657
终结者，491 –494
Terminator, The, 491–494
Tess Of The D’Urbervilles, 414, 421, 463
德州电锯杀人狂, 484 –485 , 494 , 676 , 686
Texas Chainsaw Massacre, The, 484–485, 494, 676, 686
忒修斯，神话，24、245、247、258、270、277 –278、602、603 _ _ _ _ _ _ _ _ _ _
Theseus, myth of, 24, 245, 247, 258, 270, 277–278, 602, 603
斑节草科, 290
Thesmophoriazusae, 290
Third Man, The, 5, 94, 103, 686
托马斯皇冠事件，690
Thomas Crown Affair, The, 690
三种语言，（格林），233 –234
Three Languages, The (Grimm), 233–234
Three Little Pigs, 217–218, 230
Three Musketeers, The, 37, 234, 244, 273
三姐妹，429 –430
Three Sisters, The, 429–430
至死不渝, 397
Till Death Us Do Part, 397
时间机器、5、87、92、96、103、251、659 fn _ _ _ _ _ _ _ _ _ _ _
Time Machine, The, 5, 87, 92, 96, 103, 251, 659fn
泰特斯·安德洛尼库斯，455
Titus Andronicus, 455
汤姆·琼斯, 132 –133, 256 , 281 , 293 –294
Tom Jones, 132–133, 256, 281, 293–294
托斯卡，407 – 408
Tosca, 407–408
高耸的地狱，47
Towering Inferno, The, 47
Treasure Island, 69, 71fn, 385, 392
特里斯坦和伊索尔德，627
Tristan and Isolde, 627
特洛伊罗斯与克瑞西达, 267 , 636 –637, 643
Troilus And Cressida, 267, 636–637, 643
芜菁（民间故事），268
Turnip, The (folk tale), 268
海底两万(20,000)里 , 92
Twenty Thousand (20,000) Leagues Under The Sea, 92
维罗纳两位绅士，115
Two Gentlemen Of Verona, 115
丑小鸭, 51 , 54 , 57 –58 , 234 , 242 , 269
Ugly Duckling, The, 51, 54, 57–58, 234, 242, 269
尤利西斯, 463 –466, 494 , , 662 –663
Ulysses, 463–466, 494, , 662–663
万尼亚叔叔，428 –429
Uncle Vanya, 428–429
Under The Greenwood Tree, 413, 415
上路口, 476
Up The Junction, 476
乌托邦，91
Utopia, 91
眩晕, 510 fn
Vertigo, 510fn
反之亦然，94 –95
Vice Versa, 94–95
沃尔波内, 118
Volpone, 118
沃尔松加传奇，405
Volsunga Saga, 405
等待戈多, 347 , 425 , 426 , 443 –445 , 465 , 501
Waiting For Godot, 347, 425, 426, 443–445, 465, 501
战争与和平, 131 , 136 –138, 256 , 273 , 282 , 297 , 302 , 397 , 588
War And Peace, 131, 136–138, 256, 273, 282, 297, 302, 397, 588
War Of The Worlds, The, 5, 39, 449fn, 658
沃特希普下游, 69 , 70 , 72 , 75 , 81 , 222 , 248 , 391 , 678 –679
Watership Down, 69, 70, 72, 75, 81, 222, 248, 391, 678–679
前进之路，669
Way Ahead, The, 669
星辰之路，669
Way To The Stars, The, 669
What Makes Sammy Run?, 67–68, 370–371
《小猫》有什么新内容吗？, 677法恩
What’s New Pussycat?, 677fn
狂野一号，673
Wild One, The, 673
冬天的故事，A , 121 –122, 128 –129, 234 , 256 , 272 , 295 –296, 588 , 691
Winter’s Tale, A, 121–122, 128–129, 234, 256, 272, 295–296, 588, 691
绿野仙踪, 5 , 68 , 96 , 396 , 666 –667
Wizard Of Oz, The, 5, 68, 96, 396, 666–667
Woman In White, The, 508 and fn, 656
安德罗斯的女人，111
Woman of Andros, The, 111
木马，88 fn
Wooden Horse, The, 88fn
Woodlanders, The, 414, 420–421
《你只能活两次》，410 –412
You Only Live Twice, 410–412
综合指数
General Index
Aarne-Thompson，民间故事分类，10
Aarne-Thompson, classification of folk tales, 10
线上/线下，故事，122 – 125, 225 – 226, 239 , 250 , 273 – 274
Above the line/below the line, in stories, 122–125, 225–226, 239, 250, 273–274
作为人类精神分裂的反映；第556章
as reflection of psychic split in humanity; 556
作为政治冲突的关键，573 及以下。
as key to political conflict, 573 et seq.
和人物，586
and persona, 586
和意识，596 –597
and consciousness, 596–597
和基督教，621
and Christianity, 621
and industrial revolution, 641, 658, 659fn
共产主义，665
in Communism, 665
在 9/11 后的世界中，696 –697
in post-9/11 world, 696–697
“活跃”女主角，205 –206
‘Active’ heroine, 205–206
阿贡（冲突），108
Agon (conflict), 108
Ahab, Captain, as Self-violating hero, 86, 359–364
Almaviva 伯爵，作为“黑暗家长”，107 , 125 –129, 271
Almaviva, Count, as ‘dark paterfamilias’, 107, 125–129, 271
美国和自我意识，377 –379
America, and ego-consciousness, 377–379
故事很少表现出完整的自我实现，383；661、666 –667、669 –670、672 –674、677 –678、682 –683、695 –696 _ _ _ _ _ _ _
stories rarely show full Self-realisation, 383; 661, 666–667, 669–670, 672–674, 677–678, 682–683, 695–696
艾米斯，金斯利，673
Amis, Kingsley, 673
批评剖析，10
Anatomy of Criticism, 10
祖先，与自我联系的重要性，598
Ancestors, importance of as link to Self, 598
汉斯·安徒生, 51 , 57 –58, 196 , 234
Andersen, Hans, 51, 57–58, 196, 234
安德瓦里，648 fn
Andvari, 648fn
定义为原型，297 –300
defined as archetype, 297–300
区别于个人阿尼玛，299 –300；304、306、321、331-332、334 _ _ _ _ _ _ _ _
distinguished from personal anima, 299–300; 304, 306, 321, 331–332, 334
幼稚且难以捉摸，335 –336；337、338；_ _ 340 –341
infantile and elusive, 335–336; 337, 338; 340–341
infantile 351 and ‘Dark Mother’, 374
麦田守望者, 394
in Catcher in the Rye, 394
位于平福德，395
in Pinfold, 395
盖茨比，440
Gatsby, 440
普鲁斯特，435 –437
Proust, 435–437
近距离接触, 447
Close Encounters, 447
超人，459
Superman, 459
仙女座，603
Andromeda as, 603
特洛伊的海伦，606
Helen of Troy as, 606
阿尼玛，违反，340、385 –386、401等、416、455等。_ , 460 –463
Anima, violation of, 340, 385–386, 401 et seq., 416, 455 et seq., 460–463
in stories of 19th century, 463
《惊魂记》 , 472 , 478 –481 , 489 ; 649、652、655 –656、657 。 _ _ _ _ _ 另见“受迫害的少女”
in Psycho, 472, 478–481, 489; 649, 652, 655–656, 657. See also ‘persecuted maiden’
Animus，定义为原型，300 –301
Animus, defined as archetype, 300–301
in folk tales, 307–308, dark, 342
“愤怒的年轻人”，673
‘Angry Young Men’, 673
安斯蒂，F.，94
Anstey, F., 94
安东尼奥尼、米开朗基罗，676
Antonioni, Michelangelo, 676
Aphrodite, goddess of love, 247, 602–603, 606
天方夜谭，故事，60 fn
Arabian Nights, Tales of the, 60fn
分裂, 302
splitting of, 302
不能被骗，354
cannot be cheated, 354
故事作为反思，553 –554
stories as reflections of, 553–554
作为生活模式，561 及以下。
as patterns for life, 561 et seq.
塑造政治，574 –575
shaping politics, 574–575
原型，盛行的变化：第二次世界大战中，667 –671
Archetype, change of prevailing: in World War Two, 667–671
20世纪50年代中期，672 及以下。
in mid-1950s, 672 et seq.
原型家庭剧，278 及以下，289 及以下，总结，292 –293；556 –557
Archetypal family drama, 278 et seq., 289 et seq., summing up, 292–293; 556–557
建筑，作为自我的表达，639
Architecture, as expression of Self, 639
Ariadne, as anima, 24, 80, 247
Ariel，作为“骗子”，309 , 323 –324, 604
Ariel, as ‘trickster’, 309, 323–324, 604
阿里斯托芬, 108 –109, 138 , 255 , 290 –291, 688 , 691
Aristophanes, 108–109, 138, 255, 290–291, 688, 691
亚里士多德, 18 , 109 , 187 , 255 , 329
Aristotle, 18, 109, 187, 255, 329
诗学艺术（贺拉斯），455 –456
Ars Poetica (Horace), 455–456
艺术，作为自我超越的手段，639
Art, as means to ego-transcendence, 639
亚瑟王，逝世，628 年
Arthur, King, death of, 628
阿斯兰，298
Aslan, 298
雅典娜，智慧女神，78、188、249、284、298、299、603 –607、612 _ _ _ _ _ _ _ _ _
Athene, goddess of wisdom, 78, 188, 249, 284, 298, 299, 603–607, 612
阿特曼（作为自己），610
Atman (as Self), 610
原子弹。参见核武器
Atomic bomb. See nuclear weapons
奥古斯都皇帝，615 年
Augustus, Emperor, 615
简·奥斯汀, 108 , 133 –135, 138 , 295
Austen, Jane, 108, 133–135, 138, 295
阿威罗伊，629
Averroes, 629
“玛丽亚公理”，229
‘Axiom of Maria’, 229
男性和女性的平衡，267及 以下，300，331 –332，367
Balance of masculine and feminine, 267 et seq., 300, 331–332, 367
巴尔扎克，奥诺雷，656
Balzac, Honore, 656
巴斯蒂安·阿道夫，11 岁
Bastian, Adolf, 11
比阿特丽斯，作为阿尼玛，631 –632
Beatrice, as anima, 631–632
皮埃尔·博马舍，125
Beaumarchais, Pierre, 125
塞缪尔·贝克特，423、425、443 –446、491、501 _ _ _ _
Beckett, Samuel, 423, 425, 443–446, 491, 501
托马斯·贝克福德，655
Beckford, Thomas, 655
路德维希·贝多芬, 205 –206, 253 , 305 f, 460 , 552 , 653 –654
Beethoven, Ludwig, 205–206, 253, 305f, 460, 552, 653–654
“开始、中间和结束”，故事，18、187、218 –219
‘Beginning, middle and end’, in stories, 18, 187, 218–219
彼得·本奇利，2
Benchley, Peter, 2
Benjamin, ‘little’, 304–305, 612
赫克托·柏辽兹，654
Berlioz, Hector, 654
埃里克·贝特尔海姆，11 岁
Bettelheim, Eric, 11
大爆炸理论（作为现代创世神话），545
Big Bang Theory (as modern creation myth), 545
文学传记，650
Biographia Literaria, 650
布莱尔、托尼，饰演“母亲的儿子”，689
Blair, Tony, as ‘mother’s boy’, 689
与桑乔·潘萨相比，696
compared with Sancho Panza, 696
威廉·布莱克博士，287
Bleek, Dr Willem, 287
“闪电战，精神”，667 –669
‘Blitz, spirit of the’, 667–669
詹姆斯·邦德, 6 , 21 –22, 220 , 244 , 245 , 260 , 380 –381, 473 , 476 , 676
Bond, James, 6, 21–22, 220, 244, 245, 260, 380–381, 473, 476, 676
丹尼尔·布尔斯汀，682
Boorstin, Daniel, 682
“无法长大的少年英雄”, 293 , 304 fn, 341 , 381
‘Boy hero who cannot grow up’, 293, 304fn, 341, 381
普鲁斯特，432-438。另请参见永恒普洱
Proust, 432–438. See also Puer Aeternus
约翰·布莱恩，673
Braine, John, 673
品牌，卡齐默兹，345
Brand, Kaziemerz, 345
兔兄弟，175
Brer Rabbit, 175
克兰·布林顿，578 –580
Brinton, Crane, 578–580
夏洛特·勃朗特，63 岁
Bronte, Charlotte, 63
安东布鲁克纳，660
Bruckner, Anton, 660
让·德·布伦霍夫，84 岁
Brunhoff, Jean de, 84
佛陀，作为自我的化身，610
Buddha, as personification of Self, 610
弗拉基米尔·布科夫斯基，683
Bukovsky, Vladimir, 683
Bush, President George, 584–585, 689
布什，乔治·W.总统，695 – 696（与堂吉诃德相比）
Bush, President George W., 695–696 (compared with Don Quixote)
布须曼人（桑人）和故事，287 –288
Bushmen (San), and stories, 287–288
并通过祖先链接到自我，598 fn
and link to Self through ancestors, 598fn
约翰·凯奇，445
Cage, John, 445
约瑟夫·坎贝尔，13 岁
Campbell, Joseph, 13
为星球大战提供咨询，382
advising on Star Wars, 382
卡内蒂，埃利亚斯，542
Canetti, Elias, 542
弗兰克·卡普拉，199 fn
Capra, Frank, 199fn
Casaubon, Mr, 9, 136, 255, 295
“灾难”（下划），18
‘Catastrophe’ (down-stroke), 18
宣泄，607
Catharsis, 607
Cathedrals, Gothic, 627, 634, 639
洞穴壁画（旧石器时代），593
Cave paintings (Palaeolithic), 593
名人，崇拜者，682
Celebrity, cult of, 682
“中央危机”, 57 –60, 61 –62, 66 , 243 , 605
‘Central crisis’, 57–60, 61–62, 66, 243, 605
米格尔·塞万提斯，322
Cervantes, Miguel de, 322
雷蒙德·钱德勒，508
Chandler, Raymond, 508
安东·契诃夫，戏剧中自我的消失, 423 , 426 –432, 438 , 465 , 597 , 660
Chekhov, Anton, vanishing of Self in plays of, 423, 426–432, 438, 465, 597, 660
切斯特顿，GK，508
Chesterton, G. K., 508
夏延印第安人，故事，561 –562
Cheyenne Indians, story of, 561–562
Child, (archetype), 303–305, 306, 596
Children, introduction of stories to, 216–218, 562
中国神话，608 –609
Chinese mythology, 608–609
基督，陀思妥耶夫斯基499 fn
Christ, in Dostoievsky 499fn
as symbol of Self, 633, 616–621
基督教：“超越界限”，622 及以下。
Christianity: moves ‘above the line’, 622 et seq.
和死亡观，624 –625
and view of death, 624–625
下降, 692
decline of, 692
Christie, Agatha, 508, 514–515
Churchill, Winston, 580, 667 et seq., 670, 681
城市，作为自我的象征，52、132、306、353、429、596-597、662 _ _ _ _ _ _
City, as symbol of Self, 52, 132, 306, 353, 429, 596–597, 662
“毁灭之城”，73
‘City of Destruction’, 73
美国文学经典研究，383
Classic Studies In American Literature, 383
约翰·克莱兰，456
Cleland, John, 456
比尔·克林顿，689
Clinton, Bill, 689
乔治·克鲁佐，379
Clouzot, Georges, 379
塞缪尔·泰勒·柯勒律治论“有史以来计划的三个最完美的情节”，133
Coleridge, Samuel Taylor, on the ‘three most perfect plots ever planned’, 133
关于“幻想和想象力”，650 – 651。另见古代水手
on ‘fancy and imagination’, 650–651. See also Ancient Mariner
喜剧，107 –152
Comedy, 107–152
108的起源
origins of, 108
变成爱情故事，111
becomes love story, 111
第一个情节概要，116 –117
first summary of plot, 116–117
分为两种类型的故事，142 及以下，387 –388, 657
splits into two types of story, 142 et seq., 387–388, 657
和幽默，143
and humour, 143
总结一下，150 – 152；224 ; “黑暗”喜剧，152、212 –213、401 –408、418 –419 ；253 –257、290及以下、352
summing up, 150–152; 224; ‘dark’ comedy, 152, 212–213, 401–408, 418–419; 253–257, 290 et seq., 352
感伤版，396 –398
sentimental version, 396–398
398结束的精神
spirit at end of, 398
和角色，586 –589
and persona, 586–589
和辛普森一家，691 –692
and The Simpsons, 691–692
共产主义与“黑暗自我” ，502 –504、581 –582、662、664、670、683 –686 _
Communism, and ‘Dark Self’, 502–504, 581–582, 662, 664, 670, 683–686
颜色，我们联想的原型基础，576 fn
Colour, archetypal basis of our associations with, 576fn
克里斯托弗·哥伦布，590
Columbus, Christopher, 590
电脑游戏，693
Computer games, 693
动物的意识，548
Consciousness, in animals, 548
在人体中分解，558 –561
disintegrated in humans, 558–561
统治，与自我分离，589 –591
ruling, split off from Self, 589–591
天神代表投影，第596章
sky gods represent projection of, 596
与自然背道而驰，599
at odds with nature, 599
收缩和释放，根据我们的故事经验，49 –50, 66 , 85 –86
Constriction and release, in our experience of stories, 49–50, 66, 85–86
阿利斯泰尔·库克，374
Cooke, Alistair, 374
加冕（1953），671 –672
Coronation (1953), 671–672
诺埃尔·考沃德, 103 fn, 148 , 372 , 662 , 668
Coward, Noel, 103fn, 148, 372, 662, 668
创世神话（三种），544 –546
Creation myths (three types of), 544–546
十字，作为整体的象征，621
Cross, as symbol of totality, 621
但丁、阿利吉耶里、 235 fn、298、390、460
Dante, Alighieri, 235fn, 298, 390, 460
and Divine Comedy, 628–632, 634, 698
黑暗之父, 21 , 241 –242, 244 , 247 –248, 251 , 255 , 258 , 277 –278, 299 –300, 288 , 290 –293, 301 , 306 , 325 , 331 , 340
Dark Father, 21, 241–242, 244, 247–248, 251, 255, 258, 277–278, 299–300, 288, 290–293, 301, 306, 325, 331, 340
深色女性, 248 , 270 –272, 280 , 334
Dark feminine, 248, 270–272, 280, 334
故事中的“黑暗人物”，1 , 119 –120, 128 –129, 198
‘Dark figures’ in stories, 1, 119–120, 128–129, 198
“暗反转” ，258 –260、286、331 –332、341、352、354 –357、362、364、371 –372、457 –458、478、480 –481、488 –489 ，以及政治， 577 _ _ _ _ _ _ _ _ _ _
‘Dark inversion’, 258–260, 286, 331–332, 341, 352, 354–357, 362, 364, 371–372, 457–458, 478, 480–481, 488–489, and politics, 577
共产主义，665
in Communism, 665
和纳粹主义，666
and Nazism, 666
在西方社会，686
in Western societies, 686
深色男性, 246 , 250 , 255 , 269 –271, 280 , 282 , 293 , 325 –326
Dark masculine, 246, 250, 255, 269–271, 280, 282, 293, 325–326
黑暗母亲, 241 –242, 244 , 248 , 255 –256, 277 –281, 288 , 291 , 301 , 306 , 313 , 323 , 325 –327, 331 , 336 , 351 , 389 , 405 , 407 , 427 –428 , 433
Dark Mother, 241–242, 244, 248, 255–256, 277–281, 288, 291, 301, 306, 313, 323, 325–327, 331, 336, 351, 389, 405, 407, 427–428, 433
Darkness and light, disappearance of distinction between, 438, 480
深色另一半, 248 , 259 , 264 , 280 , 282
Dark Other Half, 248, 259, 264, 280, 282
黑暗女王, 248 , 251 , 279 –280, 282
Dark Queen, 248, 251, 279–280, 282
黑暗对手, 241 –242, 244 , 256 , 276 , 280 , 303
Dark Rivals, 241–242, 244, 256, 276, 280, 303
黑暗的自我, 341 –342, 494 , 498 , 499 –503
Dark Self, 341–342, 494, 498, 499–503
在极权主义中，501 –503
in totalitarianism, 501–503
Dark versions of stories, 66–68, 258
Overcoming the Monster, 354–358, 377–379
and lesser dark version, 368; 558. See also under Comedy
查尔斯·达尔文，657
Darwin, Charles, 657
迪恩·詹姆斯，673
Dean, James, 673
死亡、之后的存在、597 –598、599 –601、625 –627、628
Death, existence after, 597–598, 599–601, 625–627, 628
Death of central figure in old age, very rare in stories, 524, 624
“结局”（解开结），18
‘Denouement’ (unknotting), 18
笛卡尔，637
Descartes, 637
荒岛故事，90
Desert island stories, 90
侦探故事，505
Detective stories, 505
起源，505 –509
origins of, 505–509
分析，511 –515
analysed, 511–515
查尔斯·狄更斯, 36 , 53 –54, 198 –199, 289 , 463 , 508 , 655
Dickens, Charles, 36, 53–54, 198–199, 289, 463, 508, 655
Devil (Christian), as personification of ego, 617, 630
戴克里先，622
Diocletian, 622
狄俄尼索斯，611
Dionysus, 611
Donizetti, Gaetano, 401, 418, 656
约翰·多恩，635 –636
Donne, John, 635–636
陀思妥耶夫斯基，费奥多尔，168 –172, 512 , 515 fn, 653 , 655 , 664
Dostoievsky, Fyodor, 168–172, 512, 515fn, 653, 655, 664
多佛海滩，安大略省，413
Dover Beach, On, 413
柯南道尔，37、92、347、505、508、511 –515 _ _ _ _ _ _ _ _ _
Doyle, Conan, 37, 92, 347, 505, 508, 511–515
梦想，由无意识塑造，543
Dreams, shaped by unconscious, 543
保罗·杜卡斯，177 fn
Dukas, Paul, 177fn
复活节，象征意义，623 fn
Easter, symbolism of, 623fn
Ego: ring as symbol of 319–320, 404–406
and Romanticism, 347 et seq. and 652 et seq.
和喜剧，397；423，在 20 世纪 50 年代重新出现，672 等。
and Comedy, 397; 423, re-emergence of in 1950s, 672 et seq.
自我复杂，需要发展，563
Ego complex, need to develop, 563
自我本能，549
Ego instincts, 549
自我/自我困惑, 252 , 341 –342, 502 –503, 586
Ego/Self confusion, 252, 341–342, 502–503, 586
自我/自我分裂, 558 , 616 –617, 636 –637, 643
Ego/Self split, 558, 616–617, 636–637, 643
协调手段, 566 , 567 , 598 , 626 , 632
means to reconcile, 566, 567, 598, 626, 632
Egotism; monster as personification of, 219, 555
distorted vision of, 254, 258–259
古埃及人，594 – 596
Egyptians, ancient, 594–596
爱因斯坦，阿尔伯特，659
Einstein, Albert, 659
谢尔盖·爱森斯坦，669 fn
Eisenstein, Sergei, 669fn
Eliot, George, 9, 36, 202–203, 655
艾略特，TS，671
Eliot, T. S., 671
结局, 18 , 56 , 63 , 66 , 105 –106, 138 , 151 –152, 153 –154, 175 等, 239 –240
Endings, 18, 56, 63, 66, 105–106, 138, 151–152, 153–154, 175 et seq., 239–240
快乐的成分，272 –275
ingredients in happy, 272–275
英国内战和奇幻周期，579 –580
English Civil War, and fantasy cycle, 579–580
启蒙运动的世界观，638 –639
Enlightenment, world view of, 638–639
环保主义，作为自我/自我困惑，679 –680, 697 fn
Environmentalism, as ego/Self confusion, 679–680, 697fn
埃庇米修斯, 546 –547
Epimetheus, 546–547
“逃避现实”，3 fn
‘Escapism’, 3fn
永恒之子，304
Eternal Child, 304
‘Eternal feminine’, 298–299, 607
永生，思想，600 –601
Eternal life, ideas of, 600–601
永恒，作为自我的一个方面，610、620、626、634
Eternity, as aspect of Self, 610, 620, 626, 634
欧里庇得斯，109
Euripides, 109
进化，648
Evolution, 648
讲故事的进化目的，543 及以下。
Evolutionary purpose of storytelling, 543 et seq.
仙女教母，302 –303
Fairy godmother, 302–303
马岛战争，584
Falklands War, 584
堕落天使，383 fn
Fallen angels, 383fn
秋天的神话，546 –548
Fall myths, 546–548
幻想，175 –176
Fantasy, 175–176
性质，460 –463
nature of, 460–463
反抗自我，494
as defying Self, 494
as different from imagination, 648, 650–652
与多愁善感密不可分，650 –652
sentimentality inseparable from, 650–652
“幻想循环” ，五个阶段，4、38 –39、40 –41、153 –157等；第389章 400
‘Fantasy cycle’, five stages of, 4, 38–39, 40–41, 153–157 et seq.; 389; 400
在哈代，421
in Hardy, 421
哈姆雷特，531 及以下。
in Hamlet, 531 et seq.
历史上，577 及以下。
in history, 577 et seq.
政治领域，580 fn
in politics, 580fn
and Hitler, 580–581, 665–666; 669
和 20 世纪 60 年代的流行音乐，677 fn
and pop music of 1960s, 677fn
幻想自我，385 –386
Fantasy self, 385–386
“致命缺陷”（hamartia），329 –330, 339
‘Fatal flaw’ (hamartia), 329–330, 339
Father archetype, 301–302, 554
Father Christmas, 84, 391, 554, 566
Father/daughter relationship, 295, 298–299
父亲的价值观'，575 –576
Father, values of’, 575–576
让位于 20 世纪 50 年代后的“母亲价值观”，681
give way to ‘values of Mother’ post-1950s, 681
女太监，688 fn
Female Eunuch, The, 688fn
女性功能，560
Feminine functions, 560
女性价值，定义为256 –258；262 及以下；267 及以下；298 –299
Feminine value, defined, 256–258; 262 et seq.; 267 et seq.; 298–299
对希腊人的重要性，607
importance of to Greeks, 607
第612章
contrasted with lack of in Judaism, 612
central to message of Jesus, 618, 622
Feminisation of men, 661, 687–689
乔治·费多，396
Feydeau, Georges, 396
第一次世界大战，660 –661
First World War, 660–661
斯科特·菲茨杰拉德，92、378、383、425、440 –441、661 –663 _ _ _ _ _
Fitzgerald, Scott, 92, 378, 383, 425, 440–441, 661–663
伊恩·弗莱明，38岁、380 –381、410 –412、475 fn
Fleming, Ian, 38, 380–381, 410–412, 475fn
古斯塔夫·福楼拜，153
Flaubert, Gustave, 153
民间故事，9 –10
Folk tales, 9–10
价值, 640
value of, 640
傻瓜（《李尔王》），72
Fool (in Lear), 72
迈克尔脚，474
Foot, Michael, 474
卡尔·工头，36 岁
Foreman, Carl, 36
弗雷德里克·福赛斯，388
Forsyth, Frederick, 388
四、总数：234 –235、282 –283、262、265、300 –301、621 fn 、701 _ _ _
Four, as number of totality, 234–235, 282–283, 262, 265, 300–301, 621fn, 701
讲故事的核心四个基本角色，279 –283
Four basic characters at heart of storytelling, 279–283
魔笛，324 –327
in Magic Flute, 324–327
四种心灵功能，荣格，558
Four psychic functions, and Jung, 558
基督形象中的完美平衡，618 –619
in perfect balance in Christ-figure, 618–619
‘Four letter words’, 468, 471, 478fn
约翰·福尔斯，253
Fowles, John, 253
弗朗茨·玛丽·路易丝·冯，12 岁
Franz, Marie-Louise von, 12
弗雷泽，詹姆斯爵士，9
Frazer, Sir James, 9
法国大革命，8
French Revolution, 8
and fantasy cycle, 578–579; 641–643
西格蒙德·弗洛伊德，11、464、553 _
and Jack and the Beanstalk, 571–573; 658, 663
弗里施，马克斯，682 fn
Frisch, Max, 682fn
弗莱，诺斯罗普，10
Frye, Northrop, 10
保罗·加利科，190
Gallico, Paul, 190
伽利略，580
Galileo, 580
保罗·加利科，668
Gallico, Paul, 668
约翰·高尔斯华绥，691 fn
Galsworthy, John, 691fn
游戏，作为自我的升华，532
Games, as sublimation of ego, 532
甘道夫，饰演智者老人，69、78、297 –298、302、317 –321 _
Gandalf, as Wise Old Man, 69, 78, 297–298, 302, 317–321
加兰，朱迪，667
Garland, Judy, 667
精灵，61 –63
Genies, 61–63
盖斯塔丹诺鲁姆，529
Gesta Danorum, 529
圣诞节的幽灵，198 –199
ghosts of Christmas, 198–199
作为骗子，309
as Trickster, 309
贾尔斯的《奶奶》，290 fn
Giles’s ‘Granny’, 290fn
尤金妮亚·金斯伯格，685 –686
Ginsburg, Eugenia, 685–686
乔托，633
Giotto, 633
上帝，作为“父亲”原型的投射，612 –613
God, as projection of ‘Father’ archetype, 612–613
让-吕克·戈达尔，675
Godard, Jean-Luc, 675
代表四面整体的神，619
God representing four-sided totality, 619
Gods: Mesopotamian 595fn, 599–601
埃及人，596
Egyptian, 596
希腊语，601 –608
Greek, 601–608
合并为“One”、608 等。
merging into ‘One’, 608 et seq.
Norse and Teutonic, 623 and fn, 645–648
《死而复生的神》，9、596、611、619 –620 _
‘God who dies and is reborn’, 9, 596, 611, 619–620
沃尔夫冈·冯·歌德，9、183、463、650 _
Goethe, Wolfgang von, 9, 183, 463, 650
金枝，9
Golden Bough, The, 9
Golden Fleece, as symbol of Self, 69, 306
威廉·戈尔丁，90 岁
Golding, William, 90
咕噜，317
Gollum, 317
《善良的天使》, 174 , 206 , 213 , 300 , 334
‘Good angel’, 174, 206, 213, 300, 334
‘Good old man’, 258–259, 332, 356
哥特式建筑的复兴，654 –655
Gothic architecture, revival of, 654–655
Gothic novels, craze for, 649–652, 656
卡洛·戈齐，9 岁
Gozzi, Carlo, 9
圣杯，神圣，作为自我的象征，69
Grail, Holy, as symbol of Self, 69
希腊，古代：神话，23 –24
Greece, ancient: mythology, 23–24
喜剧, 108
comedy, 108
诸神，象征意义，601 –608
gods, symbolism of, 601–608
哲学家，610 –611
philosophers of, 610–611
和 fn 格里尔，杰曼，688 fn
and fn Greer, Germaine, 688fn
Grimm, Jacob and Wilhelm, 10, 233
Group (or collective) fantasies, 664–667, 673–674
海湾战争：（1991）584；(2003), 8 , 585 , 695 –696
Gulf Wars: (1991) 584; (2003), 8, 585, 695–696
憔悴，骑手，69
Haggard, Rider, 69
海莉、比尔和彗星，673
Haley, Bill, and the Comets, 673
Hamartia（致命缺陷/未达标），329 –330, 618
Hamartia (fatal flaw/missing the mark), 329–330, 618
哈特兰，西班牙，21
Hartland, E. S., 21
哈特利，LP，93
Hartley, L. P., 93
Haydn, Josef, 460, 544, 639, 653
Hazlitt, William, on Shakespeare, 637fn; 642–643
天堂，作为意识投射的想法，594 –595
Heaven, idea of as projection of consciousness, 594–595
中文版，608 –609
Chinese version of, 608–609
希腊视图，602
Greek view of, 602
但丁的版本，631 –632
Dante’s version, 631–632
特洛伊的海伦：作为“妖妇”，334
Helen of Troy: as ‘Temptress’, 334
作为阿尼玛, 334
as anima, 334
地狱，衍生，645
Hell, derivation of, 645
助手（任务中），77 –78
Helpers (in Quest), 77–78
“乐于助人的动物”，220、243、307 –308
‘Helpful animals’, 220, 243, 307–308
Hepburn, Audrey, 104–105fn, 670
赫拉克利特，610和 fn
Heraclitus, 610 and fn
Hermes, 75, 602–604, nature of, 604
Hero, aspects of, 246, 282–283, 303
希罗多德，597
Herodotus, 597
男女主角，衍生，702
Hero/heroine, derivation of, 702
Heroine, aspects of, 246–247, 292–293
作为“英雄”，481
as ‘hero’, 481
女主角，“活跃” ，119、129、205 –206、246 –247、258、265、271、337 _ _ _ _ _ _ _
Heroine, ‘active’, 119, 129, 205–206, 246–247, 258, 265, 271, 337
女主角，“被动” ，119、129、269 –270
Heroine, ‘passive’, 119, 129, 269–270
赫西奥德，607 –608
Hesiod, 607–608
希罗斯加莫斯, 597 fn
Hieros gamos, 597fn
广岛, 669
Hiroshima, 669
希特勒，阿道夫，34 岁，幻想周期，580 –582；665 –669
Hitler, Adolf, 34, and fantasy cycle, 580–582; 665–669
霍奇森伯内特，弗朗西斯，207
Hodgson Burnet, Frances, 207
霍夫曼，预计到达时间，507
Hoffmann, E. T. A., 507
Holdfast ，怪物的三个方面之一，32、182、330
Holdfast, one of three aspects of monster, 32, 182, 330
Hollywood, as dream factory, 372–373; 661
第二次世界大战中的变革价值观，667 等。
values of change in Second World War, 667 et seq.
福尔摩斯、夏洛克、6、17、37 –38、347、505、508、511 –514 _ _ _ _ _ _ _ _
Holmes, Sherlock, 6, 17, 37–38, 347, 505, 508, 511–514
迈克尔·霍洛伊德，376 fn
Holroyd, Michael, 376fn
荷马, 2 , 70 , 250 , 466 –467fn, 606 –607
Homer, 2, 70, 250, 466–467fn, 606–607
贺拉斯，455 –456
Horace, 455–456
亚历山大·冯·洪堡，699
Humboldt, Alexander von, 699
幽默，作为化解自负的手段，144
Humour, as device to defuse egotism, 144
狩猎采集者，心理整合，559
Hunter-gatherers, psychological integration of, 559
侯赛因、萨达姆，作为“怪物”，584
Hussein, Saddam, as ‘monster’, 584
亨利克·易卜生，208
Ibsen, Henrik, 208
身份，发现真实，111、113、117、129、131、274 _ _ _ _ _ _
Identity, discovery of true, 111, 113, 117, 129, 131, 274
想象力，3
Imagination, 3
as distinct from fantasy, 648, 650–651
不朽，599 –601
Immortality, 599–601
India, mythology of 608–609, 625–626
‘Innocent Young Girl’, 177–178, 259, 332
“下等境界”，123 – 125
‘Inferior realm’, 123–125
梦的解析，658
Interpretation of Dreams, The, 658
伊什塔尔，饰演“黑暗母亲”，599
Ishtar, as ‘Dark Mother’, 599
伊希斯，作为阿尼玛，95，100，252，596 _ _ _ _
Isis, as anima, 95, 100, 252, 596
伊斯兰教的兴起，622 –623
Islam, rise of, 622–623
本能，人与框架的部分分离，547 –551
Instinct, man’s partial separation from frame of, 547–551
与动物和谐相处，548 –549
animals in harmony with, 548–549
整合，心灵，559 –561
Integration, psychic, 559–561
詹姆斯·亨利，383
James, Henry, 383
James, M. R., 26–27, 508–509, 658
安东尼·杰伊（和乔纳森·林恩），144
Jay, Antony (and Jonathan Lynn), 144
爵士乐，659
Jazz, 659
“爵士乐时代”，661
‘Jazz Age’, 661
罗伊·詹金斯，470
Jenkins, Roy, 470
Johnson, Dr Samuel, 1, 8, 91fn, 638
琼斯，欧内斯特博士，11
Jones, Dr Ernest, 11
本·琼森，117 –118
Jonson, Ben, 117–118
犹太教，611 –613
Judaism, 611–613
和男性价值612 –613
and masculine value 612–613
荣格，卡尔·古斯塔夫，12、237、297等；385、406、464、553 –554、558、571 _ _ _ _ _ _ _ _ _
Jung, Carl Gustav, 12, 237, 297 et seq.; 385, 406, 464, 553–554, 558fn, 571
查士丁尼，614
Justinian, 614
弗朗茨·卡夫卡，51、99 fn、393 –394、593、638 _
Kafka, Franz, 51, 99fn, 393–394, 593, 638
萨拉·凯恩，490 –491
Kane, Sarah, 490–491
凯莉·格蕾丝，36、148、670 _
Kennedy, John F., 474, 676, 695
托马斯·肯尼利，582 fn
Kenneally, Thomas, 582fn
杰克·凯鲁亚克，674
Kerouac, Jack, 674
国王，生病了，312
King, sick, 312
“王国” ，作为自我的象征，23、56、82 –83、218、220 –221、243、251、270、273 –274 _ _ _ _ _ _
‘Kingdom’, as symbol of Self, 23, 56, 82–83, 218, 220–221, 243, 251, 270, 273–274
奈杰尔·尼格尔，41 –42
Kneale, Nigel, 41–42
克莱默，斯坦利，142 fn
Kramer, Stanley, 142fn
斯坦利库布里克，481
Kubrick, Stanley, 481
迷宫，作为心灵秩序功能的象征，24、247、270、295
Labyrinth, as symbol of ordering function of mind, 24, 247, 270, 295
弗里茨·朗，663
Lang, Fritz, 663
劳雷尔和哈代，112、144、145、397 _ _
Laurel and Hardy, 112, 144, 145, 397
亨利·奥斯汀·莱亚德，21 岁
Layard, Henry Austen, 21
劳伦斯，DH ，383、465、467 –470、662 –663 _ _
Lawrence, D. H., 383, 465, 467–470, 662–663
左翼幻想，666
Left-wing fantasy, 666
Leonore, as ‘active heroine’, 281, 299
刘易斯，CS，88
Lewis, C. S., 88
刘易斯，HG，650
Lewis, H. G., 650
大卫·利恩，103 fn
Lean, David, 103fn
列奥纳多·达·芬奇，634
Leonardo da Vinci, 634
光，创造，545
Light, creation of, 545
光另一个自我, 259 , 303 , 309 , 332 , 333 , 337 , 356 , 385
Light alter-ego, 259, 303, 309, 332, 333, 337, 356, 385
“光明家庭”，300 –302
‘Light family’, 300–302
浅女性色, 129 , 269 , 292 , 332 , 334
Light feminine, 129, 269, 292, 332, 334
违反，460
violated, 460
在俄狄浦斯戏剧中，525 – 529
in Oedipus plays, 525–529
浅阳性，301 –302
Light masculine, 301–302
轻质另一半，300 –301
Light Other Half, 300–301
洛基，作为自我意识的化身，646 –648, 661 , 669 , 697
Loki, as personification of ego-consciousness, 646–648, 661, 669, 697
伦敦，作为自我的象征，419
London, as symbol of Self, 419
孤独的人群，674
Lonely Crowd, The, 674
休伊朗，575
Long, Huey, 575
罗兰，索菲亚，670
Loren, Sophia, 670
爱情，喜剧中的排列，116
Love, permutations on in Comedy, 116
Lucas, George, 42, 45, 381–382
卢锡安，177 fn
Lucian, 177fn
Machine, psychological impact of, 640–641, 654
科林·麦金尼斯，674
MacInnes, Colin, 674
阿利斯泰尔·麦克林，35 岁
Maclean, Alistair, 35
哈罗德·麦克米伦，675 –676
Macmillan, Harold, 675–676
托马斯·曼，653 –654
Mann, Thomas, 653–654
克里斯托弗·马洛，329
Marlowe, Christopher, 329
马克思兄弟, 6 , 144 –145, 255 , 397
Marx Brothers, 6, 144–145, 255, 397
Marxism: and Jack and the Beanstalk, 571–573; 577
作为自我的投影，658、661、664、671 _ _
as projection of Self, 658, 661, 664, 671
男性价值, 129 , 245 –246, 定义, 259 –262
Masculine value, 129, 245–246, defined, 259–262
马萨乔，634
Masaccio, 634
男性和女性，267 及以下。
Masculine and feminine, 267 et seq.
as defining component in stories, 555–556, 560, 574
以及政治中的左派和右派，575 –577
and left and right in politics, 575–577
Masturbation, and ego, 466, 479
安德森，490 –491
andfn, 490–491
成熟，作为自我的一个方面，220、298、314 –315、322 –325、326 –327、330、347、599 –601、624 _ _ _ _ _
Maturity, as aspect of Self, 220, 298, 314–315, 322–325, 326–327, 330, 347, 599–601, 624
毛姆，萨默塞特，353
Maugham, Somerset, 353
居伊·莫泊桑，369 –370
Maupassant, Guy de, 369–370
玛雅（对立相互作用产生的幻觉），610
Maya (illusion resulting from interplay of opposites), 610
麦克卢汉，马歇尔，692
McLuhan, Marshall, 692
“我的十年”，682
‘Me Decade, The’, 682
Mediaeval world image, 629, 633–634
disintegration of, 634–636; 641, 655
Medusa, as ‘dark feminine’, 23–24, 244
Melville, Herman, 358–364, 657
Men, feminisation of in 20th c., 661, 687–688
米南德, 111 , 121 –122, 149 , 139 , 168 , 256
Menander, 111, 121–122, 149, 139, 168, 256
梅林，作为“聪明的老人” ，288、297、299
Merlin, as ‘wise old man’, 288, 297, 299
Mesopotamia, 21, 595, first cities of, 597
第一个故事记录于598 –601
first story recorded from, 598–601
一神教，610
monotheism in, 610
“智者”，616
‘wise men’, 616
公制，641 –642
Metric system, 641–642
米开朗基罗，634
Michelangelo, 634
中世纪，627 –634，对19世纪的怀旧，654 –655
Middle Ages, 627–634, nostalgia for in 19th c., 654–655
“中间喜剧”（莎士比亚），118 –120
‘Middle Comedies’ (of Shakespeare), 118–120
中土世界（米德加德），645
Middle Earth (Midgard), 645
约翰·米尔顿，649
Milton, John, 649
牛头怪，作为自我中心力量的象征，24、35、244 –245、247、270、277 _
Minotaur, as symbol of egocentric strength, 24, 35, 244–245, 247, 270, 277
米切尔，玛格丽特，104
Mitchell, Margaret, 104
莫里哀, 112 , 122 –123, 125 , 131 , 255 , 281
Moliere, 112, 122–123, 125, 131, 255, 281
一神教的出现，608 等。
Monotheism, emergence of, 608 et seq.
和犹太教，611 –613
and Judaism, 611–613
Monster 10, 22–23, OED definition, 31
的属性，31 –33
attributes of, 31–33
三个角色，32
three roles of, 32
类似悲剧英雄，180
similar to tragic hero, 180
第555章
as personification of egotism, 555
reappearance of in storytelling at end of 19th c., 26–29, 658
蒙特威尔第，649
Monteverdi, 649
月亮，作为自我的象征（1969），679
Moon, as symbol of Self (1969), 679
更多，托马斯，90 岁
More, Thomas, 90
Moriarty, as ‘monster’, 37–38, 244
Mother, archetype, 302–303, 553–554
20世纪60年代后的西方社会，680 及以下。
in post-1960s Western society, 680 et seq.
“母亲情结”，普鲁斯特，432
‘Mother complex’, and Proust, 432
司汤达，351
Stendhal, 351
比才，407
Bizet, 407
伊恩·弗莱明，412
Ian Fleming, 412
母神，595
Mother goddess, 595
Mother Nature, 325, 327fn, 599
莫扎特、沃尔夫冈·阿玛多伊斯和《费加罗的婚礼》 ，125 – 129；138 , 291号
Mozart, Wolfgang Amadeus, and Marriage of Figaro, 125–129; 138, 291fn
和魔笛，324 –327
and Magic Flute, 324–327
和艾玛迪斯，387-388；400、638、639、653、657 _ _ _ _ _ _ _ _
and Amadeus, 387–388; 400, 638, 639, 653, 657
马尔科姆·马格里奇，455
Muggeridge, Malcolm, 455
马克斯·穆勒，10
Muller, Max, 10
刘易斯·芒福德，596 –597
Mumford, Lewis, 596–597
Music, as expression of Self, 639, 653–654
as expression of ego, 653–654, 672 et seq.
悬疑，情节，505 –515
Mystery, The, plot, 505–515
希腊神话，心理本质，601 –608
Myths, Greek, psychological nature of, 601–608
Nabokov, Vladimir, 4, 154, 471
拿破仑, 137 , 244 , 347 , 348 , 364
Napoleon, 137, 244, 347, 348, 364
作为“梦想人物”，652 –653
as ‘dream figure’, 652–653
自然，人类走出框架，547
Nature, mankind stepping outside frame of, 547
纳粹，作为典型的怪物，34 –35
Nazis, as archetypal monster, 34–35
and Dark Self, 502; 580–582; 665–667
“新喜剧”, 110 –112, 121 –122, 255 , 256 , 291
’New Comedy’, 110–112, 121–122, 255, 256, 291
“新闻”，作为故事，693
‘News’, as stories, 693
新石器时代（新石器时代）和天神，594
New Stone Age (Neolithic), and sky gods, 594
艾萨克·牛顿，637 –638
Newton, Isaac, 637–638
New York, as symbol of Self, 377–379, 429
弗里德里希·尼采，657
Nietzche, Friedrich, 657
尼克松，理查德总统，578
Nixon, President Richard, 578
诺亚，600
Noah, 600
北欧神话, 25 , 101 , 545 , 645 –648
Norse myths, 25, 101, 545, 645–648
新浪潮, 675
Nouvelle vague, 675
Novel, the, evolves out of Comedy, 112, 132–133
核武器, 658 , 659 , 669 –670, 676
Nuclear weapons, 658, 659, 669–670, 676
Numbers, archetypal symbolism of, 229–235, 282
Nyktomorphs，定义，461 –462
Nyktomorphs, defined, 461–462
和浪漫主义，651 –652
and Romanticism, 651–652
欧比·旺·克诺比，饰演 智者老人，43 –44, 78 , 297 , 302 , 382
Obi Wan Kenobi, as Wise Old Man, 43–44, 78, 297, 302, 382
淫秽，455 –456
Obscenity, 455–456
‘Obscured heroine’, 117–122, 129
痴迷，作为幻想的一个方面，336
Obsession, as aspect of fantasy, 336
奥丁，646
Odin, 646
奥德修斯（另见引用故事索引中的奥德赛）：260、270、272、299、314
Odysseus (see also Odyssey in Index of Stories Cited): 260, 270, 272, 299, 314
阿拉贡相比，321
Aragorn compared with, 321
和哈姆雷特，523
and Hamlet, 523
奥芬巴赫，乔治，140
Offenbach, Georges, 140
旧石器时代（旧石器时代）图像由593 –595制作
Old Stone Age (Palaeolithic) images produced by, 593–595
Olivier, Laurence, 477–478, 669
“一”：反抗，情节，495 –493
‘One’: rebellion against the, as plot, 495–493
作为单个“上帝”的想法，608 及以下，611 f ，620，621
idea of, as single ‘God’, 608 et seq., 611f, 620, 621
合并到, 632
merging into, 632
Opera, 19th c., 401–408. See also Mozart, Beethoven
“很久很久以前”，作为故事的开头，17
‘Once upon a time’, as device for starting story, 17
罗伯特·J·奥本海姆，670 fn
Oppenheim, Robert J., 670fn
Opposites, 76, 232–233, 249, 330
第568章
need to see world in terms of, 568
Ordering function of brain, 465, 558–560
订购本能，549
Ordering instincts, 549
Orphan, hero or heroine as, 277–278, 289–290
奥菲斯629
Orpheus 629
乔·奥顿，475
Orton, Joe, 475
乔治·奥威尔，6、317、390、499 –503、664、683 _ _ _ _ _ _
Orwell, George, 6, 317, 390, 499–503, 664, 683
约翰·奥斯本，149、476、673 _
奥西里斯，596
Osiris, 596
“其他定向性”，674 –675
‘Other directedness’, 674–675
克服怪物，作为原型，21 –50，总结，48；244 –247
Overcoming the Monster, as archetype, 21–50, summing up, 48; 244–247
in history, 581–582, projection of, 583–585
第二次世界大战被视为，668
Second World War seen as, 668
奥维德，448
Ovid, 448
Painting: as expression of Self, 633–634, 639
反映了自我的瓦解，659
reflects disintegration of Self, 659
巴勒斯坦人，“线下”，696 –697
Palestinians, ‘below the line’, 696–697
潘多拉，546 –548
Pandora, 546–548
《洞穴寓言》8
‘Parable of Cave’ 8
天堂，546
Paradise, 546
Paris, as symbol of Self, 353, 429
鲍里斯·帕斯捷尔纳克，683 –685
Pasternak, Boris, 683–685
萨姆·佩金帕，483
Peckinpah, Sam, 483
珍珠港，669
Pearl Harbour, 669
《哈姆雷特》，536 – 537；586 –588, 618
in Hamlet, 536–537; 586–588, 618
“受迫害的少女” ，386、401、416、463、649、656 _ _ _ _
‘Persecuted maiden’, 386, 401, 416, 463, 649, 656
彼特拉克，582
Petrarch, 582
毕加索，659
Picasso, 659
皮耶罗·德拉·弗朗西斯卡，634
Piero della Francesca, 634
Pirandello, Luigi, 423, 439–440
行星，以故事中的人物命名，6
Planets, named after characters in stories, 6
柏拉图，8、574 –575、629、634、672和fn、689 fn 、 699 –700 _ _ _
Plato, 8, 574–575, 629, 634, 672 and fn, 689fn, 699–700
情节，20 世纪 60 年代的崩溃，481 fn
Plot, collapse of in 1960s, 481fn
Poe, Edgar Allan, 46, 505, 506–508
波兰克斯，罗马，678
Polanksi, Roman, 678
政治正确，作为自我/自我混乱，689 –690
Political correctness, as ego/Self confusion, 689–690
政治，治理原型，574
Politics, archetypes governing, 574
乔治·波尔蒂，9 fn
Polti, George, 9fn
波吕斐摩斯，作为“怪物” ，73、247、249、604
Polyphemus, as ‘monster’, 73, 247, 249, 604
色情作品，456 及以下。
Pornography, 456 et seq.
波塞冬，作为“黑暗之父” ，24、78、247、284、602 –603、614 _
Poseidon, as ‘Dark Father’, 24, 78, 247, 284, 602–603, 614
鲍威尔，安东尼，691
Powell, Anthony, 691
普拉兹，马里奥，386
Praz, Mario, 386
Predator, as aspect of monster, 32, 333
埃尔维斯·普雷斯利，673、678、681 _
‘Prince’, as hero/animus, 282, 300
“公主”，作为女主角/阿尼玛, 282 , 291 fn, 313 –315, 323
‘Princess’, as heroine/anima, 282, 291fn, 313–315, 323
Progress, religion of, 641, 654
投影（向外投影），321 –322、367、370、582等。
Projection (outwards of what belongs within), 321–322, 367, 370, 582 et seq.
普洛斯彼罗，作为智者老人，297、299、322 –324、522、540 _ _
Prospero, as Wise Old Man, 297, 299, 322–324, 522, 540
普罗泰戈拉，634
Protagoras, 634
马塞尔·普鲁斯特, 423 , 425 , 432 –438, 464 , 660 , 704
Proust, Marcel, 423, 425, 432–438, 464, 660, 704
“伪结局”，三，438 –441
‘Pseudo Endings’, the three, 438–441
意识瓦解导致的心理类型，558 –559
Psychological types, as consequence of disintegrated consciousness, 558–559
永恒之树，304 fn ，381，554，565，681 。_ _ _ 另见“无法长大的男孩英雄”
Puer aeternus, 304fn, 381, 554, 565, 681. See also ‘Boy hero who cannot grow up’
Prison camp stories, 34, 70, 85fn
金字塔，象征意义，594
Pyramids, symbolism of, 594
Quest，作为原型，69 –86
Quest, as archetype, 69–86
总结一下，83
summing up, 83
与航程和回程相比，95；131、212、最后的考验、221 – 222；247 –250
compared with Voyage and Return, 95; 131, 212, final ordeals, 221–222; 247–250
dark and sentimental versions, 358–364, 385–392
夜女王，作为“光明”和“黑暗女性”，324 –327
Queen of the Night, as ‘light’ and ‘dark feminine’, 324–327
安妮拉德克利夫，650
Radcliffe, Anne, 650
仙境传说, 406
Ragnarok, 406
白手起家，作为原型，51 –68
Rags To Riches, as archetype, 51–68
dark figures in, 241–243; 289–290
反映“人生阶段”，563 –565
as reflecting ‘stages of life’, 563–565
向外投射，585
projected outwards, 585
特伦斯·拉蒂根，671
Rattigan, Terence, 671
拉威尔、莫里斯、波莱罗作为幻想周期，663 fn
Ravel, Maurice, Bolero as fantasy cycle, 663fn
罗纳德·里根，689
Reagan, Ronald, 689
叛乱，由幻想周期塑造，578
Rebellions, shaped by fantasy cycle, 578
Rebirth, as archetype, 193–213, summing up, 203–205
黑暗和感伤的版本，410 – 412；567 , 585 –586的投影
dark and sentimental versions, 410–412; 567, projection of, 585–586
“识别”（anagnorisis）, 109 , 116 –117, 239 , 255
‘Recognition’ (anagnorisis), 109, 116–117, 239, 255
宗教改革，635
Reformation, 635
宗教，圆形故事，593 及以下。
Religion, shaped round stories, 593 et seq.
文艺复兴时期的心理学，634 –636
Renaissance, psychology of, 634–636
决议，需要故事来实现，254
Resolution, need of stories to achieve, 254
Revolutions, shaped by fantasy cycle, 577, 578–580
《理想国》（柏拉图），574 –575，672 fn，689 fn
Republic, The (Plato), 574–575, 672fn, 689fn
Richardson, Samuel, 385–386, 649
大卫·里斯曼，674
Riesman, David, 674
政治中的右翼和左翼，基于原型，575 –577
Right and left in politics, based on archetypes, 575–577
右翼幻想，666
Right wing fantasy, 666
戒指，作为自我的象征，319 –320, 404 -6, 648 fn
Ring, as symbol of ego, 319–320, 404-6, 648fn
罗伯斯庇尔，579
Robespierre, 579
摇滚乐的到来预示着流行原型的变化，673
Rock ’n’ roll, coming of heralds change of prevailing archetype, 673
Rodgers and Hammerstein, 142, 206, 670
罗马帝国，心理学，614 –615
Roman empire, psychology of, 614–615
和男性价值，614
and masculine value, 614
下降, 622
decline of, 622
浪漫的痛苦，386
Romantic Agony, The, 386
浪漫主义, 8 , 347 及以下, 400 –401, 425 , 443 , 463 , 495 , 639 –643, 648 –658
Romanticism, 8, 347 et seq., 400–401, 425, 443, 463, 495, 639–643, 648–658
和感官崇拜，651 –652
and cult of sensation, 651–652
西格蒙德·隆伯格，104 fn
Romberg, Sigmund, 104fn
富兰克林·罗斯福，669
Roosevelt, Franklin D., 669
Rossini, Gioacchino, 139, 291fn, 653
大卫·鲁德金，475
Rudkin, David, 475
三规则（原型数字），229 –235
Rule of three (archetypal number), 229–235
故事的四种形式，231；333 , 312 –315, 333 , 356
four forms of taken in stories, 231; 333, 312–315, 333, 356
和莫比迪克，359 –364
and Moby Dick, 359–364
和俄狄浦斯，523
and Oedipus, 523
超越对立面，529
transcending opposites, 529
但丁，629 –632
in Dante, 629–632
统治意识，589 –591
Ruling consciousness, 589–591
和基督，629
and Christ, 629
Russian Revolution, 579–580, 661
Sade, Marquis de, 6, 386, 457–460, 650
安德烈·萨哈罗夫，503
Sakharov, Andre, 503
塞林格，JD ，347、383、394 –395、567、638 _ _ _ _
Salinger, J. D., 347, 383, 394–395, 567, 638
乔纳斯·索尔克，345
Salk, Jonas, 345
Sarastro, as wise old man, 297, 302
Satan, as personification of ego-consciousness, 617, 625
土星，647
Saturn, 647
塞耶斯，多萝西，508
Sayers, Dorothy, 508
席勒，9 fn
Schiller, 9fn
Schulberg, Budd, 67–68, 370–371
弗朗茨·舒伯特，639、653、654 _
Schubert, Franz, 639, 653, 654
阿诺德·施瓦辛格，491 –493
Schwarzenegger, Arnold, 491–493
作为“神话”，449 fn
as ‘myth’, 449fn
保罗·斯科特，253
Scott, Paul, 253
斯克鲁奇，作为“怪物”，198 –199, 263 , 304
Scrooge, as ‘monster’, 198–199, 263, 304
Second half of life, 565–566, 599
第二次世界大战，85、190 –191、316 fn 、 380、667等。 _ _
Second World War, 85, 190–191, 316fn, 380, 667 et seq.
“看到整体”, 223 –224, 243 , 252 –254及以下, 262 , 264 –265, 298
‘Seeing whole’, 223–224, 243, 252–254 et seq., 262, 264–265, 298
休伯特·塞尔比，475
Selby, Hubert, 475
魔笛作为象征，325
magic flute as symbol of, 325
violation of, 387–388, 458–463, 466fn
failure of American storytellers to realise, 383; 396
humanity losing contact with in 19th c., 423
契诃夫427 , 431 –432, 444 –445, 456
in Chekhov 427, 431–432, 444–445, 456
444 –445的“劣等”形式
‘inferior’ form of, 444–445
ET 作为符号，452
E.T. as symbol of, 452
返回, 493
return of, 493
自我实现作为故事的决定性组成部分，557 – 558；561 , 563 –565
Self-realisation as defining component of stories, 557–558; 561, 563–565
symbolism of in religion, 594, 610
基督的化身，616 –621
Christ as personification of, 616–621
Renaissance image of, 634, 636
违反浪漫主义，652、656、659 _ _
violation of in Romanticism, 652, 656, 659
社会主义的投影，658
projection of in Socialism, 658
乌托邦主义，662
in Utopianism, 662
sentimentalisation of in 19th c., 654–655
在第二次世界大战中重新成为主导原型，667 及以下。
re-emerges as dominant archetype in Second World War, 667 et seq.
共产主义帝国重新出现，685 –686
re-emerges in Communist empire, 685–686
violation of in 1960s, 671fn, 677
轰动、崇拜，460 –463
Sensation, cult of, 460–463
感觉功能，559
Sensation function, 559
“感官小说”，1860 年代的热潮，656 –657
‘Sensation novel’, craze for in 1860s, 656–657
Sentimentality, defined 368, 372
七，作为原型数字，235 fn
Seven, as archetypal number, 235fn
性别，20 世纪 50 年代和 1960 年代态度的变化，470 –472等。
Sex, change of attitudes to in 1950s and 1960s, 470–472 et seq.
“性与暴力” ，425、455 –494、676 –677、686等。
‘Sex and violence’, 425, 455–494, 676–677, 686 et seq.
影子，作为利己主义的产物，175 , 177 –178, 241 , 356
Shadow, as product of egotism, 175, 177–178, 241, 356
彼得·谢弗，387
Shaffer, Peter, 387
威廉·莎士比亚, 2 , 4 , 8 , 13 , 14 , 69 , 90 , 107
Shakespeare, William, 2, 4, 8, 13, 14, 69, 90, 107
和悲剧，184-185；267、305 fn 、311、322 –324、397、399、431、475 fn 、477、489 –490、499、517、529等、 539 –540 _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
and Tragedy, 184–185; 267, 305fn, 311, 322–324, 397, 399, 431, 475fn, 477, 489–490, 499, 517, 529 et seq., 539–540
世界观, 636 –637, 638 ; 650 , 688
world-view of, 636–637, 638; 650, 688
乔治·伯纳德·肖, 26 fn, 53 , 375 –376, 576
Shaw, George Bernard, 26fn, 53, 375–376, 576
玛丽·雪莱，26、354、652 _
珀西·比希·雪莱，354
Shelley, Percy Bysshe, 354
self-destructiveness of 357–358; 651
托马斯·谢里登，124 –125
Sheridan, Thomas, 124–125
Sin, as expression of ego, 618, 620
社会主义现实主义，665
Socialist Realism, 665
亚历山大·索尔仁尼琴，293、503、682、685 –686 _ _ _
Solzhenitsyn, Alexander, 293, 503, 682, 685–686
奏鸣曲形式，653
Sonata form, 653
索菲亚，作为阿尼玛，297
Sophia, as anima, 297
索福克勒斯, 133 , 517 –529, 539 –540
Sophocles, 133, 517–529, 539–540
灵魂，死后继续存在，625
Soul, as living on after death, 625
史蒂文·斯皮尔伯格，1、35、347、388、446、450、582 _ _ _ _ _ _ _ _ _
Spielberg, Steven, 1, 35, 347, 388, 446, 450, 582
运动，作为自我的升华，552
Sport, as sublimation of ego, 552
人生的各个阶段，反映的故事，563 –566
Stages of life, stories as reflecting, 563–566
斯大林, 376 , 499 , 580 , 664 , 665 , 669 , 683
Stalin, 376, 499, 580, 664, 665, 669, 683
乔治·斯坦纳，593
Steiner, George, 593
英雄崇拜拿破仑，653
hero-worships Napoleon, 653
史蒂文森，RL ，69、154、385、392 _ _ _
Stevenson, R. L., 69, 154, 385, 392
Stewart, James, 199fn, 510, 670
布拉姆·斯托克，27 –28
Stoker, Bram, 27–28
巨石阵，594和 fn的象征意义
Stonehenge, symbolism of, 594 and fn
需要解释的故事、理论，10 –11
Stories, theories to account for, 10–11
change in past 200 years, 347 et seq.
作为进化的产物，553 及以下。
as product of evolution, 553 et seq.
Strauss, Richard, 139–140, 256, 294
伊戈尔·斯特拉文斯基，660
Stravinsky, Igor, 660
一代人到另一代人的继承，278 及以下，282 及以下。、289 等。
Succession of one generation to another, 278 et seq., 282 et seq., 289 et seq.
苏尔特尔，647
Surtur, 647
卍字，暗反转，621 fn
Swastika, as dark inversion, 621fn
乔纳森·斯威夫特，90 岁
Swift, Jonathan, 90
“摇摆伦敦”，676 –677
‘Swinging London’, 676–677
泰特，内厄姆，638
Tate, Nahum, 638
技术创新会造成心理不稳定, 659 , 661 , 672 , 673 –675, 679 , 681 , 692 fn
Technological innovations as psychologically destabilising, 659, 661, 672, 673–675, 679, 681, 692fn
Teiresias，作为“聪明的老人” ，77、297、518、521 –522、528、605 _
Teiresias, as ‘wise old man’, 77, 297, 518, 521–522, 528, 605
特伦斯，111
Terence, 111
Temptations, 74–75, 173 et seq.
Tempter，“黑暗男性”和“黑暗女性”的组合，281 –282
Tempter, as combination of ‘dark masculine’ and ‘dark feminine’, 281–282
诱惑，作为“黑暗女性” ，75、248 –249、259 –260、280 –281、283、306、334、336、338、409、599 _ _ _ _ _ _ _ _ _ _
Temptress, as ‘dark feminine’, 75, 248–249, 259–260, 280–281, 283, 306, 334, 336, 338, 409, 599
阿尔弗雷德·丁尼生，654
Tennyson, Alfred, 654
条顿诸神（和星期几），623 fn
Teutonic gods (and days of week), 623fn
玛格丽特·撒切尔，688 –689
Thatcher, Margaret, 688–689
思考（排序）函数，558 –559 和 fn
Thinking (ordering) function, 558–559 and fn
托尔，646 – 647
Thor, 646–647
三（故事中的原型意义）：229 –235
Three (archetypal significance of in stories): 229–235
becomes four, 282, 229, 313–315
但丁，628 –632
in Dante, 628–632
世界神话中存在的三个层次，602、595 –596、645 –646
Three levels of existence in world mythologies, 602, 595–596, 645–646
“惊心动魄的逃脱”（逃离死亡）, 45 –48, 85 fn, 87 , 106 , 212
‘Thrilling escape’ (from death), 45–48, 85fn, 87, 106, 212
詹姆斯·瑟伯，587
Thurber, James, 587
西藏度亡经，626
Tibetan Book of the Dead, The, 626
泰坦尼克号，有关沉没的电影，680
Titanic, films about sinking of, 680
令牌，显示真实身份，113、127、131
Tokens, to show true identity, 113, 127, 131
托尔金，JRR，316 等。
Tolkien, J. R. R., 316 et seq.
列夫·托尔斯泰, 136 –138, 139 , 153 , 162 –164, 267 , 399 , 419 , 640 , 655
Tolstoy, Leo, 136–138, 139, 153, 162–164, 267, 399, 419, 640, 655
整体（四面），552
Totality (four-sided), 552
Tragedy, as archetype, 153–192, 224–226
塑造现实生活中的事件，577 及以下。
shaping events in real life, 577 et seq.
基督“神话”中的悲剧循环，619 –620
Tragic cycle, in Christ ‘myth’, 619–620
转型、需要和缺乏, 353 , 367 , 379 –381, 447 –448
Transformation, need for and lack of, 353, 367, 379–381, 447–448
宝藏，作为自我的象征，22 –23, 25 , 71 , 269
Treasure, as symbol of Self, 22–23, 25, 71, 269
骗子，作为原型，308 –309, 323 –324, 604
Trickster, as archetype, 308–309, 323–324, 604
三叶草，28
Triffids, 28
Trojan War, 466–467fn, 606–607
Truffaut, Francois, 161-2, 503fn, 675
安东尼·特罗洛普，136
Trollope, Anthony, 136
马克·吐温，383
Twain, Mark, 383
十二，作为原型数字，235 fn
Twelve, as archetypal number, 235fn
暴君，作为原型，247 –248, 251 , 258 , 260 , 261 , 265 , 277 , 290 fn
Tyrant, as archetype, 247–248, 251, 258, 260, 261, 265, 277, 290fn
和女儿292 –293；296 , 301 , 306 , 325
and daughter 292–293; 296, 301, 306, 325
保罗·乌切洛，634
Uccello, Paolo, 634
Unconscious, as source of dreams and stories, 543, 554
地狱之旅，76 –77
Underworld, journey to, 76–77
Unreconciled dark figures, 119–120, 132
未实现价值，277 等。
Unrealised value, 277 et seq.
示例283 –288、291、321、340 _ _ _ _ _
examples 283–288, 291, 321, 340
第556章
as defining component of stories, 556
“无情的父亲”（或父母），110 –111, 122 –123, 133 , 150 , 256 , 261
‘Unrelenting father’ (or parent), 110–111, 122–123, 133, 150, 256, 261
尤利西斯演讲（特洛伊罗斯和克瑞西达）, 267 , 636 –637, 645
Ulysses speech (Troilus and Cressida), 267, 636–637, 645
约翰·厄普代克，383
Updike, John, 383
乌尔, 597
Ur, 597
乌托邦主义，作为自我的投射，661 –662, 664 –667
Utopianism, as projection of Self, 661–662, 664–667
瓦尔哈拉，646
Valhalla, 646
范·艾克，一月，634
Van Eyck, Jan, 634
朱塞佩·威尔第, 402 –404, 418 , 649 , 654 , 656
Verdi, Giuseppe, 402–404, 418, 649, 654, 656
维吉尔, 69 , 70 , 73 , 222 , 614 –615
Virgil, 69, 70, 73, 222, 614–615
作为但丁的指南，629 –630
as guide to Dante, 629–630
童贞的丧失作为故事的高潮，385 –386, 457 , 459 , 449 , 522 –526
Virginity, loss of as climax of story, 385–386, 457, 459, 449, 522–526
伏尔泰，91
Voltaire, 91
航行和返回，作为原型，87 –106
Voyage And Return, as archetype, 87–106
总结一下，105 – 106；223 –224、250 –252、预计、566 –567
summing up, 105–106; 223–224, 250–252, projected, 566–567
reflecting one-sided consciousness of 18th c., 638
约翰·维维安，13 岁
Vyvyan, John, 13
范德波斯特，劳伦斯，287
Van der Post, Laurens, 287
理查德·瓦格纳, 6 , 25 , 185 , 404 –406 , 407 , 648 , 654 , 697
Wagner, Richard, 6, 25, 185, 404–406, 407, 648, 654, 697
瓦文萨，莱赫，593
Walesa, Lech, 593
沃，伊芙琳，4、87、93、395、567、638、662、671 _ _ _ _ _ _ _ _ _ _ _
Waugh, Evelyn, 4, 87, 93, 395, 567, 638, 662, 671
约翰·韦恩，670
Wayne, John, 670
威尔斯，奥森，509
Welles, Orson, 509
威尔斯，HG，28、39、45、92、658、659 fn _ _ _ _ _ _ _
Wells, H.G., 28, 39, 45, 92, 658, 659fn
奥斯卡·王尔德, 141 –142, 153 , 158 –159, 215 , 396 , 409 , 411
Wilde, Oscar, 141–142, 153, 158–159, 215, 396, 409, 411
比利·怀尔德，147
Wilder, Billy, 147
Wilson, Edmund (on detective stories), 505, 513
‘Wise Old Man’, as archetype, 77–78, 264
defined, 297–299; 302, 306–307
普洛斯彼罗，322 –325
Prospero as, 322–325
萨拉斯特罗，325 –327；335、382、394。_ _ _ _ 另见甘道夫、泰瑞西亚斯
Sarastro as, 325–327; 335, 382, 394. See also Gandalf, Teiresias
女巫，作为“黑暗女性” ，22 –23、241、244、248 –249、251、279 –280 _
Witch, as ‘dark feminine’, 22–23, 241, 244, 248–249, 251, 279–280
伍德豪斯，PG，6、108、145 –147、255、397
Wodehouse, P. G., 6, 108, 145–147, 255, 397
卡罗尔·沃蒂拉（教皇约翰·保罗二世），685
Woityla, Karol (Pope John-Paul II), 685
汤姆·沃尔夫，682
Wolfe, Tom, 682
20 世纪的女性去女性化, 486 , 660 –661, 687 –689
Women, de-feminisation of in 20th c., 486, 660–661, 687–689
“世界蛋”，545
‘World egg’, 545
世界，结束，406、647、679、697 –698 _ _ _
World, end of, 406, 647, 679, 697–698
Wordsworth, William, 642–643, 650
约翰·温德姆，40 –41
Wyndham, John, 40–41
叶芝，WB，455
Yeats, W. B., 455
阴阳，609 –610 _ _
Yin and Yang, 609–610
宙斯, 23 , 602 –607, 611 , 614 , 616
Zeus, 23, 602–607, 611, 614, 616
金字形神塔，597 fn
Ziggurats, 597fn
琐罗亚斯德，610
Zoroaster, 610
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1 . 在写这本书的那些年里，我在许多关于这本书的谈话中，最常见的解释是，我们为什么喜欢故事，因为它们满足了我们“逃避现实”的需要。当然，这描述了我们经常使用故事的方式，作为逃离“现实世界”进入我们觉得如此迷人的幻想或想象王国的一种手段。但这决不能解释为什么我们应该能够以这种特殊的方式找到消遣。一旦我们开始探索想象故事能力背后的心理学，就会发现这种“解释”实际上并不能解释任何事情。
1. In many conversations I had about this book during the years when it was being written, the explanation most commonly offered as to why we like stories was that they satisfy our need for ‘escapism’. Certainly this describes the way we often use stories, as a means to escape out of the ‘real world’ into that realm of fantasy or imagination we find so beguiling. But in no way does it explain why we should be able to find diversion in this particular way. As soon as we begin to explore the psychology behind our ability to imagine stories, it becomes obvious that this ‘explanation’ in fact explains nothing.
2 . 令人沮丧的是，席勒和戈齐（当时德国和意大利的主要剧作家）之间现存的大量信件中没有提及这一点。二十世纪初，乔治·波尔蒂受到歌德的启发，编写了他自己的、有些费力的调查《三十六个戏剧性情境》。尽管波尔蒂详细阐述了诸如“向恳求者所亲爱的人向所爱的人祈求”等主题，但波尔蒂并不关心实际的情节，而只关心“情境”；他关心的只是“情境”。而且只有在“悲剧性的情况”下。
2. Frustratingly, there is no reference to this in the extensive surviving correspondence between Schiller and Gozzi, the leading German and Italian playwrights of their day. At the beginning of the twentieth century George Polti was inspired by Goethe’s reference to compile his own, somewhat laborious, survey, The Thirty Six Dramatic Situations. While he goes into elaborate detail about such motifs as ‘Supplication of the Beloved By Those Dear to the Suppliant’, Polti is not, however, concerned with actual plots so much as mere ‘situations’; and only with ‘tragic situations’ at that.
3 . 《经典童话故事简介》，Peter 和 Iona Opie（牛津大学出版社，1974 年）。
3. Introduction to The Classic Fairy Tales, Peter and Iona Opie (Oxford University Press, 1974).
1 . 圣乔治与龙的故事最早出现在十三世纪雅各布斯·德·沃拉金的《 Legenda Aurea 》（黄金传奇）中。它源自珀尔修斯神话的一个明显迹象是，它特别将与龙的战斗发生在巴勒斯坦海岸的同一地点，在古典时期，该地点与珀尔修斯解放安德洛墨达有关。
1. The story of St George and the Dragon first appears in the Legenda Aurea, the Golden Legend, of Jacobus de Voragine in the thirteenth century. A clear indication that it is derived from the Perseus myth is that it specifically places the battle with the dragon at much the same place on the coast of Palestine which in classical times had been associated with Perseus’s freeing of Andromeda.
2 . 我们可能会注意到《克服怪物》故事的另一个中世纪版本，因为它在基本情节上引入了相当重要的变化，那就是《圣弗朗西斯和古比奥之狼》的寓言。古比奥镇的居民对镇外森林中异常强大的食人狼的破坏感到恐惧。圣弗朗西斯赶来拯救他们，并独自冒险去对抗狼。他没有杀死它，只是对它说话，温柔而坚定，这样狼就被驯服了。它不再是“怪物”，而是成为古比奥人民的朋友，人们在它定期到访该镇时喂它。相同变体的另一个例子是安德鲁克里斯的故事（为萧伯纳的戏剧《安德鲁克里斯与狮子》奠定了基础）），他在沙漠中拔出爪子上的一根刺，向一头凶猛的狮子表示爱意。几年后，当安德鲁克里斯作为一名基督徒被扔到罗马的狮子面前时，故事得到了解决。当有人走近吃掉他时，结果发现它就是他之前善待过的那只狮子，他的命因此得救了。这种故事形式展示了真正的英雄能够通过勇气和爱的结合来改变危及生命的怪物的本性，这种形式不仅存在于基督教传统中，而且在世界其他地方都有。一个著名的印度版本是与佛陀相关的传说之一。讲述了“五兵太子”（佛陀的早期化身）如何对抗、制服并最终转变可怕的粘毛食人魔。但这种类型的故事确实属于本书的后期（参见第 11 章“重生”）我们会看到怪物经历“变心”的故事。
2. Another mediaeval version of the Overcoming the Monster story we may note, because it introduces a rather more significant variation on the basic plot, is the fable of St Francis and the Wolf of Gubbio. The townsfolk of Gubbio were terrified by the ravages of an abnormally powerful, man-eating wolf, which lived in the forest outside the town. St Francis arrives to save them and ventures out alone to confront the wolf. Instead of killing it, he merely speaks to it, gently but firmly, in such a way that the wolf is tamed. It is no longer a ‘monster’ but becomes a friend to the people of Gubbio, who feed it on its regular visits to the town. Another example of the same variation is the story of Androcles (made the basis for Shaw’s play Androcles and the Lion), who in the desert shows love to a fierce lion by pulling out a thorn from its paw. The resolution of the story comes years later when Androcles, as a Christian, has been thrown to the lions in Rome. When one approaches to eat him, it turns out of course to be the same lion to which he previously showed kindness and his life is saved. This form of the story which shows the true hero able to change the life-threatening monster’s nature by a combination of courage and love is found not only in the Christian tradition but elsewhere in the world. A well-known Indian version is one of the legends associated with Buddha. This tells how ‘Prince Five-Weapons’ (an early incarnation of the Buddha) confronts, subdues and finally converts the fearful ogre Sticky-Hair. But this type of story really belongs to a later stage of the book (see Chapter 11, ‘Rebirth’) where we look at tales which show the monster going through a ‘change of heart’.
1 . 事实上，正如我们稍后将在本书中看到的那样，即使在当时，WS 吉尔伯特 (WS Gilbert) 对 1860 年代情节剧“感觉小说”的戏仿中也对这类故事进行了极好的讽刺，他在其中称他邪恶的从男爵恶棍为“先生”露丝文（见第 34 章）。
1. In fact, as we shall see much later in the book, this type of story was superbly caricatured even at the time, in W. S. Gilbert’s parody of the melodramatic ‘sensation novels’ of the 1860s, where he called his wicked baronet-villain ‘Sir Ruthven’ (see Chapter 34).
2 . 在《诺博士》的这个阶段，邦德登陆加勒比海岛屿（怪物的巢穴）后不久，当邦德看到夜间穿过一个湖时，我们即将面对怪物的感觉就更加强烈了：
2. At this stage in Dr No, shortly after Bond has landed on the Caribbean island which is the monster’s lair, the sense that we are about to confront the monster is heightened when Bond sees, coming across a lake at night:
“一个无形的东西，有两只耀眼的眼睛……在它们之间，可能是嘴巴的地方，飘动着一码长的蓝色火焰。星星的灰色冷光显示出某种圆顶头，有两个短的、蝙蝠状的翅膀。
‘a shapeless thing, with two glaring eyes ... between them, where the mouth might be, fluttered a yard of blue flame. The grey luminescence of the stars showed some kind of a domed head, with two short, bat-like wings.’
事实证明，这只是一个机械“怪物”，是诺博士为了吓跑当地渔民而建造的，但它为我们在几页后第一次见到真实的东西做好了准备。
This turns out to be merely a mechanical ‘monster’, built by Dr No to frighten off the local fishermen, but it prepares us for the first meeting with the real thing a few pages later.
3 . 这篇星球大战情节概要是根据卢卡斯代笔的故事小说改编的。《星球大战》两年后，另一部好莱坞科幻电影《异形》（1979）通过提供一个罕见的克服怪物故事的例子来反映二十世纪后期女权主义的兴起，其中“怪物杀手”的核心角色是由女性扮演的。女主角雷普利是一艘宇宙飞船的二号舰长，在遥远的太空中，一艘太空飞船遭到了一个特别聪明而残酷的外星人的入侵。它一一可怕地摧毁了她的六名船员，只剩下她一个人。她意识到逃脱的唯一希望是乘坐小型宇宙飞船跳伞，然后炸毁载有怪物的主船。然而，母舰一被摧毁，她就意识到外星人已经和她一起逃走了。在最后一场战斗中，女主角将怪物炸飞到太空，影片以她在返回地球的途中平静地睡着而结束。
3. This summary of the Star Wars plot is based on Lucas’s ghostwritten novel of the story. Two years after Star Wars, another Hollywood science fiction film Alien (1979) reflected the rise of late-twentieth-century feminism by providing a rare example of an Overcoming the Monster story in which the central role of ‘monster-slayer’ is played by a woman. The heroine, Ripley, is second-in-command of a space ship, far out in space, which is invaded by a peculiarly clever and ruthless alien. One by one it gruesomely destroys each of her six fellow-crew members, leaving her alone. She realises her only hope of escape is to bail out in a small spacecraft, and to blow up the main ship with the monster in it. No sooner is the mother-ship destroyed, however, than she realises the alien has escaped with her. There is a final battle in which the heroine blasts the monster out into space, and the film ends with her sleeping peacefully on her way back to earth.
1 . 《阿拉丁与神灯》，出自《一千零一夜的故事》 ，由 NJ Dawood 翻译，企鹅经典版（1955 年）。
1. Aladdin and the Enchanted Lamp, from Tales of The Thousand And One Nights, translated by N. J. Dawood, Penguin Classics edition (1955).
2 . 《穿靴子的猫》，由罗伯特·桑伯 (1729) 翻译自查尔斯·佩罗 (Charles Perrault) 在《历史上的故事》 ( Histoire ou Contes du Temps Passe ) (1695) 中出版的传统民间故事的法语版本，并在彼得·奥佩 (Peter Opie) 和艾奥娜·奥佩 (Iona Opie) 的《经典童话》 (The Classic Fairy Tales)中重印，OUP ( 1974）。
2. Puss In Boots, translated by Robert Samber (1729) from the French version of the traditional folk tale published by Charles Perrault in Histoire ou Contes du Temps Passe (1695), and reprinted in The Classic Fairy Tales by Peter and Iona Opie, OUP (1974).
3 . 《理查德·惠廷顿的历史》，《他的洛·拜尔特，他的伟大财富》，于 1605 年匿名出版。
3. The History of Richard Whittington, Of His Lowe Byrthe, His Great Fortune, published anonymously in 1605.
4 . 我们可能会注意到，当《本尼·古德曼的故事》于 1956 年拍摄时，编剧们选择以现实生活中的事件——1938 年的卡内基音乐厅音乐会——发生在 18 年前。换句话说，小说的特殊要求取代了纪实传记，为它们提供了一个“童话结局”——英雄赢得了“公主”并继承了“王国”；尽管这意味着从故事中省略古德曼随后在现实生活中发生的一切。这就是潜在原型决定故事形态的力量。
4. We may note that when The Benny Goodman Story came to be made in 1956, the real-life event on which the scriptwriters chose to conclude the story, the Carnegie Hall concert of 1938, had taken place 18 years earlier. In other words, the special demands of fiction had taken over from factual biography, to provide them with a ‘fairy tale ending’ – the hero winning the ‘Princess’ and succeeding to the ‘kingdom’; even though this meant omitting from the story everything which, in real life, had happened to Goodman subsequently. Such is the power of the underlying archetype to dictate the shape of a story.
5 . 罗伯特·欧文在《天方夜谭：同伴》 （1994）中指出，阿拉丁的故事最早出现在安托万·加兰于 1704 年至 1715 年间在巴黎出版的法文版《Les Mille et Une Nuits》中。在此之前，没有关于阿拉丁的记载。故事，所以它的起源仍然是个谜。
5. Robert Irwin points out in The Arabian Nights: A Companion (1994) that the story of Aladdin first appeared in the French translation of Les Mille et Une Nuits published in Paris by Antoine Galland between 1704 and 1715. Before this there is no record of the story, so its origins remain a mystery.
1 . 有时，在基于寻找埋藏宝藏的任务故事版本中，这个开头会有所不同。就像在《金银岛》中一样，不一定有任何巨大威胁迫在眉睫的感觉，迫使英雄和他的同伴踏上他们的旅程。但这在创造一种强迫感方面被以下事实所取代：到达宝藏的动力变成了一场竞赛。在《金银岛》中，就像在其他基于寻宝的任务中一样，例如电影《疯狂、疯狂、疯狂、疯狂的世界》或《夺宝奇兵》推动情节发展的悬念的主要来源是意识到不止一群人同时试图到达宝藏。英雄们的目标有“黑暗对手”，就像斯皮尔伯格电影中的纳粹寻宝者一样，他们出于自己险恶的原因而不顾一切地寻找失落的方舟。在“这是一个疯狂、疯狂、疯狂、疯狂的世界”中，几组驾车者在加州相互竞争，看看谁能最先到达埋藏的钱财。金银岛也是如此故事的大部分情节都围绕着谁将首先到达宝藏：英雄和他的朋友们，或者由奸诈的单腿长约翰·西尔弗（John Silver）领导的海盗团伙，他成为了故事中的主要“怪物”。即便如此，我们仍然在史蒂文森小说的开头场景中看到了那种阴森恐怖的气氛，这种气氛在典型的探索故事的开头很常见，黑狗和盲人皮尤险恶地来到了偏远的康沃尔旅馆。甚至在我们得知宝藏的存在之前，这就产生了一种强烈的威胁感。
1. There is sometimes a variation to this opening in versions of the Quest story based on the search for a buried treasure. As in Treasure Island, there is not necessarily the sense of any enormous threat looming up to force the hero and his companions to embark on their journey. But this is replaced in creating a sense of compulsion by the fact that the drive to reach the treasure becomes a race. In Treasure Island, as in other Quests based on a treasure-hunt, such as the films It’s A Mad, Mad, Mad, Mad World or Raiders of the Lost Ark, the chief source of suspense driving the plot forward is the realisation that more than one group of people are trying to reach the treasure at the same time. The heroes have ‘dark rivals’ for their goal, like the Nazi treasure-hunters in Spielberg’s film, desperate to find the lost ark for their own sinister reasons. In It’s A Mad, Mad, Mad, Mad World several competing groups of motorists race each other across California to see who can first reach a buried cache of money. The same is true in Treasure Island, where much of the plot centres round who will reach the treasure first: the hero and his friends, or the pirate gang, led by the treacherous, one-legged Long John Silver, who becomes the story’s chief ‘monster’. Even so we still see in the opening scenes of Stevenson’s novel the setting up of that brooding air of menace which is familiar at the start of an archetypal Quest story, with the sinister arrival at the remote Cornish inn of Black Dog and Blind Pew. This sets up a powerful sense of threat, even before we learn of the existence of the treasure.
2 . 我们不会在本章中追随《指环王》 ，因为它复杂的故事并不完全基于任务的情节。第19章和第34章对此进行了详细分析。
2. We shall not follow The Lord of The Rings in this chapter because its complex story is not based exclusively on the plot of the Quest. It is analysed in detail in Chapters 19 and 34.
3 . 所罗门王矿井中有一种“穿越地下世界的旅程”的奇怪回声。当英雄和他的同伴们终于即将到达他们一直要去的地方时，他们不得不在山口高处的冰冻洞穴里过夜。当他们早上醒来时，发现自己睡在十六世纪葡萄牙探险家保存完好的尸体旁边，他的古老地图是他们旅途中唯一的指南和灵感。因此，他们与“过去的精神”建立了某种联系，而“过去的精神”在引导他们实现目标方面发挥着至关重要的作用。
3. There is a curious echo of the ‘journey through the underworld’ in King Solomon’s Mines. When the hero and his companions are at last on the verge of arriving in the land they have been journeying towards, they have to spend a night in a frozen cave high up on the mountain pass. When they wake in the morning, they find they have been sleeping in company with the perfectly-preserved corpse of the sixteenth-century Portugese explorer, whose ancient map has been their sole guide and inspiration on the journey. They thus make a kind of contact with the ‘spirit from the past’ who plays a crucial part in guiding them to their goal.
4 . 我们已经看到了另一个引人注目的现代例子，即“智慧老人”欧比旺·克诺比和美丽的莱娅公主，他们在《星球大战》中引导英雄们踏上旅程的过程中发挥了关键作用。
4. We have already seen another striking modern example in the ‘wise old man’ Obi-Wan Kenobi and the beautiful Princess Leia, who play a key part in guiding the heroes on their journey in Star Wars.
5 . 《探索》情节的进一步变化是受第二次世界大战启发而塑造了两种不同类型的故事。一方面是那些与克服怪物情节交叉的情节，其中一小群人必须踏上漫长而危险的旅程，以摧毁敌人黑暗力量的一些特别险恶和威胁性的集中。著名的例子包括《纳瓦隆之枪》等电影（我们已经将其视为克服怪物的故事）；《十二十二人》中，一群暴力的不合时宜的人被招募到被占领的法国，摧毁一座戒备森严的城堡，该城堡是德国军队的信息网络中心；或泰勒马克英雄影片中，一群突击队员被空投到被占领的挪威，加入抵抗运动，摧毁一座重水工厂，这可能使纳粹能够研制出赢得战争的核弹。另一方面是那些战俘营逃亡故事，例如《木马》、《科尔迪兹故事》或《大逃亡》故事的驱动力是英雄们作为战俘开始的难以忍受的束缚与他们对“自由”这一最重要的遥远目标的梦想之间的对比。当然，这里首先强调的是离开旅程的难度。逃跑的计划和执行本身不可避免地占据了故事的大部分内容。一旦旅程开始，这就会遵循磨难和“惊心动魄的逃脱”与休息时间交替的通常模式：而且，最糟糕的磨难之一可能是当目标终于在边境上出现时发生的。因此，此类故事的情节悬念取决于探索原型和惊险逃脱原型之间的交叉。
5. Further variations on the Quest plot are those which shape two different types of stories inspired by the Second World War. On one hand are those which are a cross with the Overcoming the Monster plot, where a small group of men have to travel on a long, perilous journey to destroy some particularly sinister and menacing concentration of the enemy’s dark power. Well-known examples of this include films like The Guns of Navarone (which we have already looked at as an Overcoming the Monster story); The Dirty Dozen, in which a bunch of violent misfits redeem themselves when they are recruited to be dropped into occupied France to knock out a closely-guarded chateau which is the centre of the German army’s information network; or The Heroes of Telemark, where a group of commandos are dropped into occupied Norway to join the resistance in knocking out a heavy-water plant which could enable the Nazis to develop a war-winning nuclear bomb. On the other hand are those prison camp escape stories, such as The Wooden Horse, The Colditz Story or The Great Escape, where the story’s driving force is the contrast between the intolerable constriction in which the heroes begin as prisoners of war and their dream of the all-important distant goal of ‘freedom’. The chief emphasis here, of course, is on the difficulty of getting away on the journey in the first place. The planning and execution of the escape itself inevitably takes up much of the story. Once the journey begins this follows the usual pattern of ordeals and ‘thrilling escapes’ alternating with periods of respite: and, again, one of the worst ordeals may be that which takes place when the goal is at last in sight, on the frontier. The plot in such stories thus depends for its suspense on a cross between the archetypes of the Quest and the Thrilling Escape.
1 . 一个世纪前，莎士比亚也将《暴风雨》设定在一个“荒岛”上，尽管普洛斯彼罗岛的全部要点是它有人居住。故事中很少有岛屿完全无人居住：真正的“沙漠”（或“荒凉”）岛屿更常见于漫画中。当然，英雄对一座有着奇怪而可怕的居民的岛屿的访问早在奥德修斯访问独眼巨人、喀耳刻、卡吕普索等岛屿的文学中就出现过。
1. A century earlier Shakespeare had also set The Tempest on a kind of ‘desert island’, although the whole point about Prospero’s isle was that it was inhabited. Few islands in stories turn out to be totally uninhabited: the true ‘desert’ (or ‘deserted’) island is more often found in cartoons. Of course the hero’s visit to an island with strange and terrifying inhabitants appears in literature as far back as Odysseus’s visits to the islands of the Cyclops, Circe, Calypso and others.
2 . 1759 年，另外两部以“航行与回归”为主题的著名 18 世纪小说出版：塞缪尔·约翰逊的《拉塞拉斯》和伏尔泰的《老实人》。这两部作品都展示了他们的英雄从他们一生所生活的相对舒适的环境中出发，去探索外面伟大世界中令人困惑的恐怖生活。然而，在拉塞拉斯与通常的模式相反，这位阿比西尼亚王子英雄实际上是从一种“永远永远的土地”开始的，这是一个与外界隔绝的偏远“欢乐谷”，那里的居民不知道邪恶。在这对典型的一对——美丽的年轻公主和“聪明的老人”伊姆拉克的陪伴下，拉塞拉斯在回家之前体验到了我们熟悉的外部世界的“常态”（贪婪、愚蠢、暴力、匮乏），这是非常新奇和反常的。开明。老实人在外面的世界有一系列更有益的经历，这显然无法证实他的导师潘格罗斯博士空洞乐观的格言，即“在所有可能的世界中，一切都是最好的”，最后他决定安定下来与他相当于“公主”和“聪明的老人”的 Cunegonde 和 Pangloss 博士一起“培育他的花园”。
2. Two other well-known eighteenth-century novels shaped by the Voyage and Return theme were published in 1759: Samuel Johnson’s Rasselas and Voltaire’s Candide. Both show their heroes sallying forth from the comparatively cosy surroundings in which they have lived all their lives, to investigate the perplexing horrors of life in the great world outside. However, in Rasselas, by a reversal of the usual pattern, the Abyssinian prince-hero actually begins in a kind of ‘never never land’, a remote ‘happy valley’ shut off from the outside world, where the inhabitants know no evil. Accompanied by that archetypal pair, a beautiful young Princess and a ‘wise old man’, Imlac, Rasselas thus experiences the ‘normality’ of our familiar outside world (greed, folly, violence, deprivation) as highly novel and abnormal, before returning home enlightened. Candide has an even more salutary set of experiences in the outside world, which so signally fails to bear out his tutor Dr Pangloss’s vacuously optimistic maxim that ‘all is for the best in the best of all possible worlds’, Finally he decides to settle down with his equivalents of a ‘Princess’ and a ‘wise old man’, Cunegonde and Dr Pangloss, to ‘cultivate his garden’. Although he does not return geographically to where he started, the end of the story has the familiar Voyage and Return feel of a return to humdrum normality after a highly abnormal adventure.
3 . 这个情节的真正“黑暗”版本是在那些罕见的例子中看到的，在这些例子中我们确实看到了英雄被致命地困在“另一个世界”中所发生的事情。我们将更详细地讨论弗兰茨·卡夫卡的两个例子（第23 章）。在《审判》中，英雄约瑟夫·K. 发现自己因某种神秘罪行而莫名其妙地被捕，突然脱离了安全、正常的世界。和许多其他《远航与回归》英雄一样，他无法弄清楚自己陷入的噩梦世界。但他最终在不知道自己被指控什么的情况下就被处决了。卡夫卡的短篇小说《变形记》描述了一位英雄陷入了噩梦般的“另一个世界”，一天早上醒来，发现自己变成了一只巨大而丑陋的昆虫。最终，他没有再变回来，就死了：这就好像《金驴》中的卢修斯从未找到扭转他转变的方法，并且致命地陷入了他作为驴子的新身份中。
3. The truly ‘dark’ version of this plot is seen in those rare examples where we do see what happens to a hero who becomes fatally trapped in the ‘other world’. Two examples we shall look at in more detail (in Chapter 23) are by Franz Kafka. In The Trial, the hero Josef K. suddenly falls out of his safe, normal world when he finds himself inexplicably under arrest for some mysterious offence. Like many another Voyage and Return hero, he cannot make head or tail of the nightmare world he has been plunged into. But he is finally executed without ever learning what he has been accused of. Kafka’s short story Metamorphosis describes a hero who is plunged into his nightmare ‘other world’ when he wakes up one morning to find he has become a huge and hideous insect. Eventually, without changing back again, he dies: which is rather as if Lucius in The Golden Ass never found the remedy to undo his transformation, and had become fatally trapped in his new identity as a donkey.
4 . 另一个基于“远行与归来”情节的不幸爱情故事的熟悉例子是战后英国电影《相见恨晚》（1946），由诺埃尔·考沃德编剧，大卫·里恩执导。“正常”的世界以女主人公（西莉亚·约翰逊饰演）单调的家庭生活为代表，她嫁给了弗雷德，她和蔼可亲、缺乏想象力、无聊的丈夫，最喜欢坐在火边玩填字游戏。在内心独白中，留声机里传出浪漫的拉赫玛尼诺夫钢琴协奏曲，她不幸地回忆起几周前，在附近城镇的车站茶点室里，她意外地“坠入了另一个世界”，遇到了一位英俊、敏感的医生（特雷弗·霍华德），也已婚。她回忆起他们是如何坠入爱河的，多次秘密会面，去看电影，在餐厅喝香槟，在乡村散步。他们的恋情经历了熟悉的梦想阶段循环；沮丧阶段（当她感到越来越内疚时，对丈夫撒谎，在餐厅被朋友发现）；和噩梦阶段（当他意外回来时，他们在朋友公寓里做爱的尝试被中止，他们都意识到这段恋情不能持续下去，他告诉她他即将与家人一起前往南非寻找新工作）。他们在站台上最后告别后，她悲惨地回到了弗雷德和他的填字游戏的“正常”世界，放上拉赫玛尼诺夫的钢琴，在脑海中重温了整个悲伤的故事。他告诉她他即将与家人一起前往南非寻找新工作）。他们在站台上最后告别后，她悲惨地回到了弗雷德和他的填字游戏的“正常”世界，放上拉赫玛尼诺夫的钢琴，在脑海中重温了整个悲伤的故事。他告诉她他即将与家人一起前往南非寻找新工作）。他们在站台上最后告别后，她悲惨地回到了弗雷德和他的填字游戏的“正常”世界，放上拉赫玛尼诺夫的钢琴，在脑海中重温了整个悲伤的故事。
4. Another familiar example of an unhappy love story based on the Voyage and Return plot is the post-war British film Brief Encounter (1946), written by Noel Coward and directed by David Lean. The ‘normal’ world is represented by the humdrum home life of the heroine (played by Celia Johnson) married to Fred, her kindly, unimaginative, boring husband, who likes nothing better than to sit by the fire doing the crossword puzzle. In interior monologue, with a romantic Rachmaninov piano concerto blasting out of the gramophone, she unhappily reconstructs how some weeks before, in the station refreshment room in the nearby town, she had unexpectedly ‘fallen into another world’ by meeting a handsome, sensitive doctor (Trevor Howard), also married. She recalls how they fell in love, snatching several more surreptitious meetings, visits to the cinema, drinking champagne in a restaurant, walking in the country. Their affair goes through the familiar cycle of dream stage; frustration stage (as she feels growing guilt, lies to her husband, is spotted by friends in the restaurant); and nightmare stage (their attempt to make love in a friend’s flat is aborted when he unexpectedly returns, they both realise the affair cannot last, he tells her he is about to leave with his family for a new job in South Africa). After they have made their final farewells on the station platform, she returns miserably home to the ‘normal’ world of Fred and his crossword, puts on the Rachmaninov and relives in her mind the whole sad story.
5 . 其他著名的美国故事中中心人物必须离开“另一半”的航行和返回故事包括《学生王子》（1924）和好莱坞电影《罗马假日》（1953）。西格蒙德·隆伯格轻歌剧的主人公是一位王子，他厌倦了父亲王国的繁琐生活，为了消遣，他隐姓埋名地访问了海德堡大学城。在那里，他在学生的簇拥下度过了一段令人兴奋的非正式时光，并坠入了爱河。和一个旅店老板的女儿。他父亲去世的消息传来，他被召唤回家履行国王的职责（出于国家原因，他还被安排与一位公主结婚）。他无法忘记他的真爱，并再次秘密访问海德堡告别，但他必须悲伤地回到“正常”世界，永远把她抛在身后。在某些方面， 《罗马假日》的故事非常相似奥黛丽·赫本 (Audrey Hepburn) 饰演一位对罗马进行正式访问的欧洲公主，同样厌倦了皇室生活中所有乏味的礼节。晚上，她偷偷逃离了所住的大使馆，在街上散步后，在长凳上睡着了，并被格利高里·派克饰演的一名美国记者在城里接走，以报道她的访问。他不知道她是谁，但出于对她健康的考虑，他带她回到了他住的公寓。早上，她请他带她参观这座城市，她度过了令人兴奋的非正式一天，与他隐姓埋名地在罗马闲逛，不可避免的结果是，到了夜幕降临时，他们相爱了。但责任却悲伤地把她带回了“正常”世界，把他抛在了身后。现在他知道了她的真实身份，他暂时考虑出售他们在一起的故事。但当她出现在新闻发布会上时，他向她传达了她的秘密是安全的。
5. Other well-known American examples of Voyage and Return stories where the central figure has to leave the ‘other half’ behind include The Student Prince (1924) and the Hollywood movie Roman Holiday (1953). The hero of Sigmund Romberg’s operetta is a prince, bored with the formalities of life in his father’s kingdom, who seeks diversion by making an incognito visit to the university town of Heidelberg There he has an exhilaratingly informal time surrounded by students, and falls in love with an innkeeper’s daughter. News comes of his father’s death and duty calls him home to take up his duties as king (where it has also been arranged that he should marry a princess for reasons of state). He cannot forget his true love and makes another secret visit to Heidelberg to say goodbye, but he must then sadly return to the ‘normal’ world, leaving her behind for ever. In some ways very similar is the story of Roman Holiday, starring Audrey Hepburn as a European princess on an official visit to Rome, likewise bored with all the stuffy formalities of her royal life. She secretly escapes at night from the embassy where she is staying and, after walking the streets, falls asleep on a bench where she is picked up by an American journalist, played by Gregory Peck, in the city to cover her visit. He has no idea who she is but, concerned for her welfare, takes her back to the flat where he is staying. In the morning she asks him to show her the city, and she has an exhilaratingly informal day wandering incognito with him round Rome, with the inevitable result that, by nightfall, they are in love. But duty then calls her sadly back to her ‘normal’ world, leaving him behind. Now he is aware of her true identity, he momentarily contemplates selling the story of their time together. But when she appears at a press conference, he conveys to her that her secret is safe.
1 . “喜剧”的通常衍生词（例如，参见《英语词源学词典Skeat 》）源自古希腊语
，意为“宴会、欢乐的节日、节日游行”。但即使是《诗学》中的亚里士多德也很难确定最初的词源是来自“
狂欢”，还是来自
乡村词“村庄”。
1. The usual derivation given for ‘comedy’ (cf., for instance, Skeat, Etymological Dictionary of the English Language) is from the old Greek , a banquet, a jovial festivity, a festal procession. But even Aristotle in the Poetics had difficulty in determining whether the original derivation was from , to revel, or from , the country word for a village.
2 . 保罗·特纳， 《达夫尼斯和克洛伊》简介（企鹅经典版）。尽管情节的总体形状是熟悉的，但这些小说中使男女主人公分开的“感人的意外”似乎与迄今为止舞台喜剧中常见的更平凡的不幸事件相去甚远。一系列暴力而耸人听闻的“惊心动魄的死里逃生”。在安西娅和哈布罗科姆斯例如，在以弗所的色诺芬的著作中，女主人公“被海盗俘获，被强盗俘获，差点被强奸，差点被活活献祭，在她给自己下药后被活埋……为了避免令人厌恶的婚姻，并被埋在一个坑里”两只凶猛的狗；而英雄，她的爱人，“在埃及海岸遭遇海难，被牧羊人俘虏，卖为奴隶，被诬告谋杀了主人，被钉在俯瞰尼罗河的岩石上，被大风卷入河中，再次被捞上来”并被判处烧死在火刑柱上。令人高兴的是，尼罗河泛滥并扑灭了火焰……”（前引）。只有在经历了更多不可能的冒险之后，男女主角才最终团聚，从此过上幸福的生活。
2. Paul Turner, introduction to Daphnis and Chloe (Penguin Classics edition). Despite the familiar overall shape of the plot, the ‘moving accidents’ which kept the hero and heroine apart in these novels might have seemed a far cry from the more mundane misadventures which had hitherto been the stuff of stage comedies, consisting as they did mainly of a series of violent and sensational ‘thrilling escapes from death’. In Anthia and Habrocomes by Xenophon of Ephesus, for instance, the heroine ‘is captured by pirates, captured by brigands, nearly raped, nearly made a human sacrifice, buried alive after she has drugged herself ... to avoid a distasteful marriage and buried in a pit with two fierce dogs’; while the hero, her lover, is ‘shipwrecked on the coast of Egypt, captured by shepherds, sold into slavery, falsely accused of murdering his master, crucified on a rock overlooking the Nile, swept by a gale into the river, fished out again and condemned to be burned at the stake. Happily the Nile overflows and puts out the flames ... ’ (op. cit.). It is only after yet further improbable adventures that hero and heroine are at last reunited to live happily ever after.
3 . 当然，克劳迪奥和英雄的幸福结局与次要情节相结合，比阿特丽斯和本尼迪克特之间的关系复杂，他们在整个戏剧中如此有趣地争吵之后，最终以令人难以置信的喜悦认识到他们实际上是命中注定的。对于彼此。这是一个典型的例子，两个角色通过最终认识到他们对早先驳回或拒绝的“另一半”的爱，实现了自己的真实身份（也参见《傲慢与偏见》）。
3. The happy ending for Claudio and Hero is, of course, coupled with that of the sub-plot, the chequered relationship of Beatrice and Benedict who, after bickering their way so entertainingly through the play, finally recognise with disbelieving delight that they are actually meant for each other. This is a classic instance of two characters realising their own true identity through finally recognising their love for the ‘other half’ they have earlier dismissed or rejected (cf. also Pride and Prejudice).
4 . 在后来的戏剧中唯一的例外是《伯里克利》，其中两个相对次要的角色克里昂和狄奥尼莎在台下受到惩罚。
4. The only exception to this in the later plays is Pericles, where the two comparatively minor characters Cleon and Dionyza are punished off-stage.
1 . 事实上，正如我们所知，托尔斯泰最初将《战争与和平》构想为一部关于 1825 年十二月党人起义的小说。这个故事在他的脑海中开始演变，只是为了展示俄罗斯生活中危机时刻的背景，并且作为一种将他的人物塑造到面临危机的方式：自由主义理想主义者皮埃尔和保守、忠诚的军官尼古拉会发现自己站在对立的一边。有鉴于此，更有趣的是，托尔斯泰的想象力如何逐渐被一种完全不同类型的故事所占据，这种故事基于喜剧的原型，而他的第一尾声成为故事最初发生的唯一残留证据给他。
1. In fact, as we know, Tolstoy originally conceived War and Peace as a novel about the Decembrist rebellion of 1825. The story had begun to evolve in his mind merely as a way of showing the background to that moment of crisis in Russian life, and as a way of building up his characters to the point where they were confronted by the crisis: in which the liberal idealist Pierre and the conservative, loyal army officer Nikolai would find themselves on opposing sides. In light of this, it is even more interesting to see how Tolstoy’s imagination became gradually possessed by a quite different type of story, based on the archetype of Comedy, leaving his First Epilogue as the only vestigial evidence of the story as it had originally occurred to him.
2 . 后来的许多故事中的另一个以这种方式使用“非白人”角色来代表“线下”元素，必须将其暴露在光下才能提供幸福的结局，这是斯坦利·克莱默的好莱坞电影《猜猜谁来吃晚饭》（1967）。这位年轻的白人女主人公带着一位在夏威夷度假时爱上的朋友回到了旧金山的家中，并计划将他介绍给她富有的父母，作为她打算结婚的男人。他（西德尼·波蒂埃饰演）是一位非常成功的黑人医生。她的母亲（凯瑟琳·赫本饰）和父亲（斯宾塞·屈塞饰）尽管是一家长期致力于种族平等的自由派报纸的老板，却感到震惊。母亲意识到女儿深爱着她，很快就被说服了。但父亲仍然坚决反对这门婚事。由于这对恋人计划当晚飞往欧洲结婚，女儿邀请他贫穷但受人尊敬的黑人父母共进晚餐，以宣布这一消息。他们同样对儿子娶白人女孩的前景感到震惊。但他的母亲同样赢得了支持这场比赛，这使得两个“不屈不挠的父亲”联合起来反对。一位睿智、和蔼可亲的老天主教神父在解决僵局方面发挥了重要作用，他是这家人的朋友，也被邀请参加晚宴。当女主人公的父亲宣布他想发表演讲时，结局就到来了。每个人都希望他重申反对这桩婚事，但他透露自己已经改变了主意，现在对这桩婚姻表示祝福。因此，爱战胜了偏见，一切都幸福地结束了（尽管我们只能猜测英雄的黑人父亲是否也有类似的转变）。和蔼可亲的老天主教神父，也是这家人的朋友，也被邀请来参加晚宴。当女主人公的父亲宣布他想发表演讲时，结局就到来了。每个人都希望他重申反对这桩婚事，但他透露自己已经改变了主意，现在对这桩婚姻表示祝福。因此，爱战胜了偏见，一切都幸福地结束了（尽管我们只能猜测英雄的黑人父亲是否也有类似的转变）。和蔼可亲的老天主教神父，也是这家人的朋友，也被邀请来参加晚宴。当女主人公的父亲宣布他想发表演讲时，结局就到来了。每个人都希望他重申反对这桩婚事，但他透露自己已经改变了主意，现在对这桩婚姻表示祝福。因此，爱战胜了偏见，一切都幸福地结束了（尽管我们只能猜测英雄的黑人父亲是否也有类似的转变）。
2. Another of many later stories to use ‘non-white’ characters in this way, to represent the ‘below the line’ element which must be brought up into the light to provide a happy ending, was Stanley Kramer’s Hollywood movie Guess Who’s Coming to Dinner (1967). The young white heroine returns home to San Francisco with a friend she has fallen in love with on holiday in Hawaii, planning to introduce him to her rich parents as the man she intends to marry. He (played by Sidney Poitier) is a highly-successful black doctor. Her mother (Katherine Hepburn) and father (Spencer Tracy), despite being the owner of a liberal newspaper which has long campaigned for racial equality, are horrified. Recognising that her daughter is deeply in love, mother is soon won round; but father remains adamantly opposed to the marriage. Since the lovers plan to fly off that night to Europe to be wed, the daughter invites to dinner his poor but respectable black parents, to break the news. They are equally shocked at the prospect of their son marrying a white girl; but his mother is similarly won round to supporting the match, leaving the two ‘unrelenting fathers’ united in their opposition. A part in resolving the impasse is played by a wise, genial old Catholic priest, a friend of the family who is also invited to dinner. The denouement comes when the heroine’s father announces that he wants to make a speech. Everyone expects him to reiterate his opposition to the match, but he reveals he has had a change of heart and now gives the marriage his blessing. Thus love triumphs over prejudice and all ends happily (although we are left only to guess whether the hero’s black father has been similarly converted).
3 . 通过好莱坞的不真实感的令人愉快的转折，扮演凯西的黛比·雷诺兹的说话和唱歌声音都必须由其他女演员在电影中配音。更具讽刺意味的是，她说话的声音是由扮演莉娜的女演员让·哈根配音的。
3. By a delightful twist of Hollywood unreality, both the speaking and singing voices of Debbie Reynolds, playing Kathy, themselves had to be dubbed in the film by other actresses. By an even greater irony, her speaking voice was dubbed by Jean Hagen, the actress playing Lina.
1 . 因此，希腊语“傲慢”概念背后的真正含义最初源自“超”含义“之上”。稍后我们将看看为什么古希腊人将悲剧模式视为一种狂妄自大，随后是复仇者的行为。尽管在现代世界中，傲慢一词通常被理解为一种宇宙的傲慢或骄傲（属于导致跌倒的类型），但它的派生表明它最初是如何准确传达所讨论的“超越界限”的想法的。在这里（参见第 20 章）。
1. Hence the true meaning behind the Greek notion of hubris, originally derived from hyper meaning ‘over’. We shall look later at why the ancient Greeks saw the tragic pattern as one of hubris followed by nemesis. Although in the modern world the term hubris is often understood to mean a kind of cosmic arrogance or pride (of the type inviting a fall), its derivation shows how it was originally meant to convey precisely that idea of ‘stepping over the bounds’ discussed here (see Chapter 20).
2 . 《魔法师的学徒》是一个完美反映奇幻失控模式的故事，该故事因保罗·杜卡斯 (Paul Dukas, 1897) 根据歌德 (1779) 的一首诗改编的音乐剧版本而在现代闻名，后来由沃尔特 (Walt) 使用迪士尼电影《幻想曲》中的一集（1940）。这个故事起源于二世纪的罗马诗人卢西安。一位老巫师留下他年轻的学徒去井里打水。男孩记得他的主人用来控制魔法扫帚的咒语，并命令扫帚完成工作（专注）。有一段时间，棍子接水桶，一切都很顺利（梦想阶段）。但当最终带来了足够的水时，男孩惊恐地意识到他不知道如何告诉它停止（沮丧阶段）。随着越来越多的水桶堆积起来，男孩绝望地拿起斧头砍向棍子。这只是将棍子分成两半，因此两半现在获取的水是以前的两倍（噩梦阶段）。因此，学徒对斧头的使用说明了我们如何经常在悲剧中看到英雄或女英雄为了避免第一次的后果而被迫做出第二次黑暗行为。正是这一点触发了噩梦阶段并最终毁灭了它们。在这个例子中，故事并没有遵循悲剧的模式来结束，因为就在房子似乎即将被洪水冲走时，巫师回来并命令扫帚停下来。
2. A story which perfectly reflects the pattern of how fantasy escalates out of control is the Sorcerer’s Apprentice, made famous in modern times through the musical version by Paul Dukas (1897), based on a poem by Goethe (1779), and then used by Walt Disney for an episode in the film Fantasia (1940). The tale originated with the second-century Roman poet Lucian. An old sorcerer leaves his young apprentice to fetch water from the well. The boy remembers the spell used by his master to command a magic broomstick and orders the stick to do the work (Focus). For a while the stick fetches the pails of water and all goes well (Dream Stage). But when eventually enough water has been brought, the boy realises to his horror he does not know how to tell it to stop (Frustration Stage). As ever more buckets pile up, the boy in desperation takes an axe to the stick. This merely splits the stick in two, so that the two halves now fetch twice as much water as before (Nightmare Stage). The apprentice’s use of the axe thus exemplifies how we so often in Tragedy see a hero or heroine driven to commit a second dark act in a desperate bid to avoid the consequences of the first. It is this which triggers off the Nightmare Stage and their eventual destruction. In this instance, the story does not follow the Tragic pattern to its conclusion because, just when it seems the house is about to be washed away by the flood, the Sorcerer returns and orders the broomstick to stop.
1 . 另一个讲述善良的灵魂利用噩梦般的幻象实现英雄重生的故事是弗兰克·卡普拉的第二次世界大战后电影《生活多美好》（1946）。当乔治·贝利（詹姆斯·斯图尔特饰）在美国小镇因故事中的反派偷钱而面临破产时，他首先对妻子和孩子感到愤怒，然后喝醉了并考虑自杀。守护天使克拉伦斯被派来拯救他。我们首先看到乔治生活中的一些场景，他在其中发挥了积极的作用，从小时候拯救溺水的弟弟哈利，到建立一个充满爱的家庭。然后克拉伦斯带领乔治穿过小镇，向他展示如果他从未存在过，许多人的生活将会有多么不同。当英雄走过熟悉的街道时，他的朋友和家人都没有认出他们，因为他们从来不认识他，他看到如果他没有在那里影响世界变得更好，将会发生多少悲伤和悲剧的事情。最终看到了他兄弟哈利的坟墓，这表明如果乔治没有去救他，他就会死掉。因此，哈利不可能在第二次世界大战中从一艘正在下沉的船上拯救数百名美国军人的生命而成为民族英雄。当克拉伦斯将乔治带回现实世界时，英雄已经在不知不觉中看到了他在世界上做了多少好事。影片结束时，他在圣诞树下与妻儿欢聚，心怀感激的镇民纷纷涌入他家，用金钱礼物帮助他摆脱债务，他也获得了重生。因此，哈利不可能在第二次世界大战中从一艘正在下沉的船上拯救数百名美国军人的生命而成为民族英雄。当克拉伦斯将乔治带回现实世界时，英雄已经在不知不觉中看到了他在世界上做了多少好事。影片结束时，他在圣诞树下与妻儿欢聚，心怀感激的镇民纷纷涌入他家，用金钱礼物帮助他摆脱债务，他也获得了重生。因此，哈利不可能在第二次世界大战中从一艘正在下沉的船上拯救数百名美国军人的生命而成为民族英雄。当克拉伦斯将乔治带回现实世界时，英雄已经在不知不觉中看到了他在世界上做了多少好事。影片结束时，他在圣诞树下与妻儿欢聚，心怀感激的镇民纷纷涌入他家，用金钱礼物帮助他摆脱债务，他也获得了重生。
1. Another story in which a benign spirit uses a nightmarish vision to bring about the hero’s rebirth is Frank Capra’s post-World War Two movie It’s a Wonderful Life (1946). When George Bailey (played by James Stewart) is faced with bankruptcy in a little American town thanks to a theft of money by the story’s villain, he first turns angrily on his wife and children, then gets drunk and contemplates suicide. A guardian angel Clarence is sent to save him. We first see scenes from George’s life in which he has featured positively, from saving his brother Harry from drowning when they were boys, to setting up a loving family home. Clarence then leads George through the town to show him just how different many people’s lives would have been if he had never existed. As the hero walks through the familiar streets, unrecognised by his friends and family because they have never known him, he sees just how many sad and tragic things would have come about if he had not been there to influence the world for the better. This culminates in seeing the grave of his brother Harry, showing how, if George had not been there to rescue him, he would have died. Harry would therefore not have survived to become a national hero in World War Two for saving the lives of hundreds of American servicemen from a sinking ship. By the time Clarence returns George to the real world, the hero has seen how much good he has done in the world without knowing it. As the film ends, he is joyfully reunited with his wife and children under the Christmas tree, appreciative townsfolk pour into his home to rescue him from debt with gifts of money, and he has been reborn.
2 . 另一个以救赎女主角为中心的重生故事的著名版本是《音乐之声》由理查德·罗杰斯和奥斯卡·汉默斯坦执导的《》，被拍成一部成功的电影（1964 年）。玛丽亚是一位美丽的年轻修女，她离开修道院，成为冯·特拉普上尉七个孩子的家庭教师，冯·特拉普上尉是一位独裁的奥地利贵族，成了鳏夫。他是一个冷酷的管教者，用铁棍统治着孩子们的生活。当活泼的新家庭女教师教他们如何唱歌、玩游戏和大笑时，他们的父亲看到他们从他在他们周围建造的冰冻监狱中被解放出来，一开始非常愤怒。但他们在生活中新发现的快乐如此具有感染力，以至于他自己最终也逐渐解冻了。当他加入他们的歌曲和游戏时，他和玛丽亚坠入爱河并结婚了。1938 年纳粹接管国家后，他因拒绝为暴虐的新政权服务而受到怀疑。
2. Another well-known version of the Rebirth story centred round the figure of a redeeming heroine is The Sound of Music, by Richard Rogers and Oscar Hammerstein, made into a successful film (1964). Maria, a beautiful young nun, leaves her convent to become governess to the seven children of Captain von Trapp, an autocratic Austrian aristocrat who has been left a widower. He is a cold disciplinarian who rules his children’s lives with a rod of iron. As the lively new governess teaches them how to sing, play games and laugh, their father is initially furious to see them being liberated from the frozen prison he has built round them. But so infectious is their newfound delight in life that he himself eventually thaws out. As he joins in their songs and games, he and Maria fall in love and are married. When the Nazis take over the country in 1938, he falls under suspicion for his refusal to serve the tyrannical new regime. In the nick of time they make a ‘thrilling escape’ from Austria across the mountains, and the story ends with the family running over Alpine meadows to freedom, joyfully singing ‘the hills are alive with the sound of music’ to celebrate their liberation.
1 . 这仅适用于同伴被视为英雄的“无差别附属物”的探索，因此是可以牺牲的，就像《奥德赛》或《犹太人出埃及记》中那样。它不适用于诸如Watership Down或King Solomon's Mines 之类的地方，它们之间的同伴提供了力量的平衡，所有这些都是任务成功所必需的。
1. This only applies to the sort of Quest where the companions are seen as ‘undifferentiated appendages’ of the hero, and therefore expendable, as in the Odyssey or the Jewish Exodus. It does not apply in those, such as Watership Down or King Solomon’s Mines, where the companions between them provide a balance of strengths, all of which are necessary for the Quest to succeed.
2 . 对于我们反复以《麦克白》为例的事实，我并不道歉，因为在莎士比亚的所有戏剧中，它提供了悲剧五阶段循环的最完美表达。事实上，它是原型模式的纯粹升华，这一事实可能有助于解释为什么它引起了演员们的迷信，以至于他们永远不会提及它的名字，而只能称为“苏格兰戏剧”。
2. I make no apology for the fact that we repeatedly return to Macbeth as an example because, of all Shakespeare’s plays, it provides the most perfect expression of the five-stage cycle of Tragedy. The fact that it is such a pure distillation of the archetypal pattern may help explain why it has aroused such superstitition in actors that they are meant never to refer to it by name but only as ‘the Scottish play’.
1 . 在我们在“重生”一章中看到的所有民间故事中，“三”再次扮演着核心角色。例如，《睡美人》和《白雪公主》都分三个阶段展开：第一个阶段是女主人公小时候陷入黑暗力量的阴影之下；第二个阶段是女主人公小时候陷入黑暗力量的阴影之下；第三个阶段是女主人公小时候陷入黑暗力量的阴影下。第二次，她即将步入成年，黑暗力量成功地将她囚禁在生死存亡的境地。第三次，多年后，她终于被王子救赎并复活。
1. Again ‘three’ plays a central part in all the folk tales we looked at in the chapter on ‘Rebirth’. Sleeping Beauty and Snow White, for instance, both unfold in three stages: the first when the heroine initially falls under the shadow of the dark power as a young child; the second when she arrives at the threshold of adult life and the dark power succeeds in imprisoning her in the state of living death; the third when, years later, she is finally redeemed and brought back to life by the Prince.
2 . 在夏尔·佩罗 (Charles Perrault) 的法国民间故事集《过去的时光的历史》 (Histoires ou Contes du Temps Passé ) (1697)中收录的灰姑娘故事的第一版中，他描述灰姑娘只参加过舞会两次。这可能是因为佩罗听到了一个已经损坏的版本；或者说，在为法国宫廷观众改编这个故事时，他缩短了故事，因为他不理解三法则的重要性。但在这个故事的几乎所有其他民间版本中（例如，格林兄弟的德国民间故事集《Aschenputtel》），女主人公三次看到乔装打扮的英雄王子，最后第四次相遇揭示了他的身份。她的真实身份。
2. In the first published edition of the Cinderella story, included in Charles Perrault’s collection of French folk-tales, Histoires ou Contes du Temps Passé (1697), he describes her as only going to the ball twice. This may have been because Perrault heard an already corrupted version; or that, in adapting the story for a French court audience, he shortened it because he did not understand the significance of the Rule of Three. But in almost all other folk-versions of the story (e.g., Aschenputtel, in the collection of German folk-tales by the Grimm brothers), the heroine sees the Prince-hero three times in her disguise, before the final fourth encounter which reveals her true identity.
3。尽管故事围绕的主要原型数字是一、二、三和四，但其他较少出现的数字是那些结合并强化其重要性的数字，特别是三和四的复合数字或倍数。回到史前时期，“七”作为“三”和“四”的组合而具有象征性或神奇的意义，如神话中通往地狱的七个门户、希腊世界的七位圣人、对抗底比斯的七人、人类的七个时代、七个死罪，七大美德。苏美尔人和后来的文明谈到了七颗行星或“天上的流浪者”，包括太阳和月亮。九的意义是三乘三，就像九位缪斯女神一样。十二的意义相当于三乘四，构成一个总数，正如十二使徒或奥林匹斯山上十二位至高无上的希腊神。但丁的正如我们将在第 33 章中看到的那样，《神曲》与世界上任何故事一样全面地围绕“三”的规则构建，分为三卷，每卷 33 章，第一卷作为整部作品的序言，总共达到 100 轮。
3. Although the chief archetypal numbers around which stories are structured are one, two, three and four, other numbers which appear less often are those which combine and reinforce their significance, particularly compounds or multiples of three and four. Back into prehistory seven has taken on symbolic or magical significance as a combination of three and four, as in the mythical seven gateways to the underworld, the seven sages of the Greek world, the seven against Thebes, the seven ages of man, the seven deadly sins, the seven cardinal virtues. The Sumerians and later civilisations spoke of seven planets or ‘heavenly wanderers’, including the sun and the moon. Nine is significant as three times three, as in the nine Muses. Twelve is significant as three times four, making up a totality, as in the twelve apostles or the twelve supreme Greek gods on Olympus. Dante’s Divine Comedy, which as we shall see in Chapter 33 is structured round the rule of three as comprehensively as any story in the world, is divided into three books each of 33 cantos, apart from the first which acts as prologue to the whole work, to make a round 100 in all.
1 . 这种常见模式的一个例外是《圣经》创世记中约瑟夫的故事。当约瑟夫还是个男孩的时候，由于他的预言梦的天赋而与他的兄弟们隔离开来，约瑟夫面临着自我膨胀的危险，就像梦中显示他的兄弟们向他下拜一样。从这个意义上说，他可能是一个黑暗人物。当他的兄弟们把他赶到这个世界上，把他遗弃在荒野中死去时，当他被卖到埃及当奴隶时，他从命运中被解救出来，他解释他人梦想的天赋最终证明了他开启人生道路的关键。被提升到拥有巨大权力和财富的地位。作为法罗亚的首席大臣，他已经是“王国的统治者”。但为了使这个等式完整，他还必须表明，作为与他的外在权力的平衡，他不是无情和自私的。最重要的是，为了解决这个故事，他必须与他的兄弟们和解。他们以失败者的身份来到他身边，故事开始时的情况发生逆转。现在是他在‘上界’，他们在‘下界’，在他的阴影下。但约瑟夫受到对他最小的弟弟“小本杰明”的爱的启发，最终以完全的爱和宽恕对待他们所有人，使他们都快乐地合而为一。在这方面，约瑟夫的故事虽然主要是由白手起家的情节塑造的，但也包含重生故事的强烈元素：内心被冰冻在旧怨恨中的坚强的人，这使他的心变得坚硬，最终融化成一种完全的爱的状态和和解。约瑟夫最终以完全的爱和宽恕对待他们所有人，使他们都快乐地合而为一。在这方面，约瑟夫的故事虽然主要是由白手起家的情节塑造的，但也包含重生故事的强烈元素：内心被冰冻在旧怨恨中的坚强的人，这使他的心变得坚硬，最终融化成一种完全的爱的状态和和解。约瑟夫最终以完全的爱和宽恕对待他们所有人，使他们都快乐地合而为一。在这方面，约瑟夫的故事虽然主要是由白手起家的情节塑造的，但也包含重生故事的强烈元素：内心被冰冻在旧怨恨中的坚强的人，这使他的心变得坚硬，最终融化成一种完全的爱的状态和和解。
1. An exception to this usual pattern is the story of Joseph from the biblical book of Genesis. As a boy, isolated from his brothers by his gift for prophetic dreams, Joseph is in danger of having his ego inflated, as by the dreams which show his brothers bowing down to him. In this sense he is potentially a dark figure. When his brothers force him out into the world, by abandoning him to die in the wilderness, the fate from which he is rescued when he is sold as a slave into Egypt, his gift for interpreting the dreams of others eventually proves the key to his being raised to a position of immense power and wealth. As Phaoroah’s chief minister he is already ‘ruler over the kingdom’. But for the equation to be complete he also has to show, as a counterpoise to his outward power, that he is not heartless and selfish. Above all, for the story to be resolved, he has to be reconciled with his brothers. They come to him as underdogs, in a reversal of the situation at the start of the story. Now it is he who is ‘above the line’, they who are in the ‘inferior realm’, in his shadow. But inspired by his love for his youngest brother, ‘little Benjamin’, Joseph eventually treats them all with complete love and forgiveness, so that they are all joyfully at one. In this respect Joseph’s story, although primarily shaped by the Rags to Riches plot, also contains a strong element of the Rebirth story: the strong man, inwardly frozen in an old grievance which hardened his heart, finally thawed out into a state of complete love and reconciliation.
2 . 故事中多次出现从怪物阵营中偷偷转变成男主角最亲密盟友的坚强女主角。希腊神话中另一个熟悉的例子是美狄亚，她是伊阿宋的主要敌人暴君埃忒斯的女儿，她帮助伊阿宋赢得了金羊毛（再次为他提供了智胜怪物的方法，即“蛇守护者”）。奖品”，通过使其“失去意识”）。现代惊悚片中有很多这样的例子（例如厄斯金·柴尔德斯的《金沙之谜》），这是詹姆斯·邦德故事中常见的主题，例如《来自俄罗斯的爱》影片中，俄罗斯特工塔蒂亚娜·罗曼诺娃 (Tatiana Romanova) 改变立场，帮助邦德赢得他所追寻的“宝藏”——苏联秘密密码机，此前，他曾像阿里阿德涅 (Ariadne) 或美狄亚 (Medea) 一样，与邦德一起逃亡回家。
2. The strong-minded heroine who, from within the monster’s camp, secretly switches to become the hero’s closest ally is seen many times in storytelling. Another familiar instance in Greek mythology was Medea, the daughter of Jason’s chief enemy, the tyrant-king Aetes, who helped him to win the Golden Fleece (again by providing him with the means of outwitting the monster, the serpent-guardian of the ‘prize’, by making it ‘lose consciousness’). There are many instances in modern thrillers (e.g., The Riddle of the Sands by Erskine Childers), and this was a frequent motif in the James Bond stories, e.g., From Russia with Love, where the Russian agent Tatiana Romanova changes sides to help Bond win the ‘treasure’ he is after, the secret Soviet cipher-machine, before, like Ariadne or Medea, escaping with him for the journey home.
3 . 我们不知道荷马是否意识到十二个斧头的象征意义。但可以肯定的是，《奥德赛》的前十二本书描述了英雄最终到达伊萨卡岛之前的旅程，展示了他在离开特洛伊后如何必须经历十二次磨难：与西科内斯人的战斗；食莲者国土；波吕斐摩斯；拉斯特里戈尼亚巨人；喀耳刻；哈迪斯；塞壬；青蟹；太阳的牛；卡律布狄斯；卡吕普索；阿尔西诺斯岛上的最后一次沉船事故。由于正是通过这些考验，他已经成熟到可以与追求者进行最终决战的地步，因此，他应该通过射击相同数量的斧头向他们宣布自己的存在，具有象征意义。
3. Whether or not Homer was conscious of the symbolism of the twelve axe-heads we cannot know. But certainly the first twelve books of the Odyssey, describing the hero’s journey before finally arriving in Ithaca, show how the ordeals he had to survive after leaving Troy were twelve in number: the battle with the Cicones; the Land of the Lotus-Eaters; Polyphemus; the Laestrygonian giants; Circe; Hades; the Sirens; Scylla; the cattle of the Sun; Charybdis; Calypso; the final shipwreck on Alcinous’s island. Since it was through these tests that he matured to the point where was ready for the final showdown with the suitors, it was thus symbolically appropriate that he should announce his presence to them by firing through the same number of axe-heads.
1。确实，在“仙女层面”的动作上，泰坦妮娅也被帕克的诡计迷惑而迷恋波顿，从而一度成为剧中最令人心酸荒诞的人物。但她的困境的荒谬之处表明，“被迷惑的女性”的奇观在故事中是多么不寻常。更“自然”的是，男性人物应该无法直视和完整。从这个意义上说，进入黑暗森林并再次出去的旅程成为一种航行和回归的形式，其中男性角色需要落入一个阴暗的“另一个世界”，以使他们有限的意识被打开到转变的点。只有当他们都接触到那种更深层的感觉时，他们才准备好出现，这种感觉最终可以在各个方向上快乐地将他们联系起来，
1. It is true that on the ‘fairy level’ of the action, Titania is also confused by Puck’s trickery into her infatuation with Bottom, thus becoming for a while the most poignantly absurd figure in the play. But the very absurdity of her plight points up how unusual in stories is the spectacle of the ‘deluded feminine’. It is much more ‘natural’ that the male figures should be unable to see straight and whole. In this sense the journey into the dark wood and out again becomes a form of voyage and Return, where the male characters have needed the fall into a shadowy ‘other world’ for their limited awareness to be opened up to the point of transformation. They are only ready to emerge when they have all been brought into touch with that deeper feeling which can at last connect them up happily in all directions, with no one any longer rejecting or rejected by anyone else.
1 . 当然，大卫在这之后的 40 年里仍然是以色列的国王，他的故事还有很多。这个故事的持续心理微妙之处在于，他的行为绝不是完美无缺的。他的性格面临着进一步的考验，比如他与芭丝谢芭通奸的那一集，以及他命令她的丈夫上前线无情地处置他的方式。但他的软弱时刻总是通过对自己的失败有更多的理解和认识来解决。因此，当他最终“年事已高”地去世时（《列王纪上》1），他将王国交给了他的儿子所罗门，而所罗门仍然被誉为“最明智的国王”。
1. There is of course much more to David’s story after this point, during the 40 years when he remains king of Israel; and part of the continuing psychological subtlety of the story is that he is by no means shown as remaining flawless in his conduct. He faces further tests of his character, such as the episode involving his adultery with Bathsheba and the ruthless fashion in which he disposes of her husband by ordering him into the front line of battle. But always his moments of weakness are resolved in greater understanding and recognition of his failings. Thus when he eventually dies ‘stricken in years’ (Kings 1), he hands on the kingdom to his son Solomon, who has remained legendary as ‘the wisest king’ of all.
2 . 迪士尼版本在许多方面与 30 年前制作的日本动画电影《白狮金巴》（1965 年）相呼应，尽管工作室强烈否认两者之间有任何联系。
2. In many respects the Disney version echoed a Japanese animated film made 30 years earlier, Kimba The White Lion (1965), although the studio strongly denied that there was any link between the two.
1 . 普罗克里昂是典型的典型人物，他在后来的罗马喜剧中被称为塞内克斯（senex）：一个枯燥、爱评判的老人，反对生命的流动，他在《黑暗之父》中继续扮演黑暗之父或暴君的角色。讲故事的历史。事实上，六性特征是如此明确，以至于它们构成了一种原型，它可以像男性一样影响老年女性，就像可怕的奶奶形象一样，不断抱怨年轻一代和现代世界，几十年来闻名英国漫画家贾尔斯的作品。
1. Procleon is a typical example of that stock character who was to become familiar in later Roman comedy as senex: the dried-up, judgemental old man, opposed to the flow of life, who has continued to play the role of Dark Father or Tyrant through the history of storytelling. In fact senex characteristics are so well-defined that they constitute an archetype, which can affect older women just as much as men, as in the fearsome Granny-figure, constantly complaining about the younger generation and the modern world, made famous over many decades by the British cartoonist Giles.
2 . 有时，喜剧呈现的情况与《战胜怪物》故事中的情况非常相似，我们看到“公主”被暴君锁在塔里，英俊的英雄前来解救她。在罗西尼的歌剧《塞维利亚的理发师》中，年轻的女主人公罗西娜被她冷酷的监护人巴托洛博士关在门外，直到阿尔马维瓦伯爵和他的盟友费加罗采取了一系列策略才将她解救出来。在莫扎特的《后宫》中，美丽的年轻英国女主人公康斯坦丝被塞利姆帕夏囚禁在他的宫殿里，她的情人贝尔蒙特冒着生命危险前来营救她：直到暴君宽宏地认识到他们的爱的力量并放走了她。
2. There are occasions when Comedy presents a situation remarkably similar to that familiar in Overcoming the Monster stories, where we see the ‘Princess’ locked away by the Tyrant in a tower, with the handsome hero arriving to free her. In Rossini’s opera The Barber of Seville the young heroine Rosina is kept shut away by her grim guardian, Dr Bartolo, until the Count Almaviva and his ally Figaro manage by a series of stratagems to liberate her. In Mozart’s Il Seraglio the beautiful young English heroine Constanze has been imprisoned by the Pasha Selim in his palace, and her lover Belmonte arrives to risk his life in rescuing her: until the Tyrant magnanimously recognises the force of their love and lets her go.
1 . 与所有原型一样，荣格认为永恒的人既有光明的一面，也有黑暗的一面。从光明的角度来看，“永恒的孩子”——如圣母和圣子画作中所代表的——是塑造我们对任何新生生命的基本情感反应的原型。这种本能条件反射不仅仅由人类儿童引起。当我们看到处于进化阶梯高端的几乎所有物种的新生幼崽时，例如羔羊、小鸡、小鸭、小牛或小马驹（促使我们感叹“啊啊，多可爱啊！”），我们都能体验到这种感觉。 ）。但在其黑暗方面，荣格使用了同一个术语“puer aeternus”在不同的背景下：描述一个成年男性由于心理上对“母亲”的过度依赖而陷入不成熟，从而无法成长为完全成熟的男子气概。虽然将患有这种心理状况的人描述为“永恒的孩子”似乎完全合适，但使用同一个术语来描述本质上是两种截然不同的原型似乎会令人困惑。这就是为什么在这本书中，荣格的永恒少年的反面版本通常被描述为“无法成长的男孩英雄”。
1. As with all archetypes, Jung saw the puer aeternus as having both light and dark aspects. In its light aspect, the ‘eternal Child’ – as represented in paintings of the Madonna and Child – is the archetype which shapes our basic emotional response to any new-born life. This instinctively-conditioned response is not only aroused by a human child. We can experience it when confronted by the sight of the new-born young of almost any species at the higher end of the evolutionary ladder, such as lambs, chicks, ducklings, calves or foals (prompting the exclamation ‘aaah, how sweet!’). But in its dark aspect Jung uses the same term puer aeternus in a different context: to describe an adult male locked into immaturity by a psychological over-dependence on ‘Mother’ and his resulting inability to grow up into fully mature manhood. While it might seem entirely apt to describe someone suffering from this psychological condition as an ‘eternal child’, it may seem confusing to use the same term for what are essentially two quite distinct archetypes. This is why in this book the negative version of Jung’s puer aeternus is generally described as ‘the boy hero who cannot grow up’.
2。这个术语可能看起来很容易混淆，因为我们通常将自我的概念与小写的“s”、自我和自私等同起来；而自我原型则恰恰相反。但其根源在于，我们越充分地认识到自己的个人身份，我们就越能接触到将我们与更广阔的世界联系起来的超越自我的心灵层面。自我既是我们个人身份的核心，也是将我们与外界的每个人和一切事物联系起来的核心。像贝多芬或莎士比亚这样的伟大艺术家，与其说与其他人有太大不同，不如说他更直接地接触到全人类共有的心灵层面。因此我们谈论它们的“普遍性”。
2. This term might seem open to confusion, in that we normally identify the idea of self, with a small ‘s’, with the ego and with selfishness; whereas the archetype of the Self represents the very opposite. But at its root is the idea that, the more fully we realise our own individual identity, the more we come into contact with that ego-transcending level of the psyche which links us to the wider world. The Self is both the core of our individual identity and that which connects us with everyone and everything outside us. A great artist, like Beethoven or Shakespeare, is not so much different from other people as someone more directly in contact with that level of the psyche which is shared by all humanity in common. Hence we speak of their ‘universality’. It is in this sense that the ‘Self’ is an appropriate term for this complex component of the psyche, which plays such an important role in the symbolism of storytelling.
1 . 不要将这个东欧民间故事与斯特拉文斯基根据其芭蕾舞剧《火鸟》 （1910）改编的完全不同的故事相混淆。最著名的版本可能是《伊凡王子》、《火鸟与灰太狼》，故事发生在俄罗斯，由格林兄弟的俄罗斯同行亚历山大·阿夫纳塞夫（Alexander Afnasev，1826-1871 年）首次出版。但我在这里指的是相当复杂的捷克版本，在大多数捷克民间故事集中都可以找到，其中“有用的动物”不是狼而是狐狸。
1. This eastern European folk-tale is not to be confused with the quite different story on which Stravinsky based his ballet The Firebird (1910). Probably the best-known version, Prince Ivan, The Firebird and The Grey Wolf, is that told in Russia and first published by Alexander Afnasev (1826–1871), the Russian counterpart of the brothers Grimm. But I shall here be referring to the rather more complex Czech version, found in most collections of Czech folk tales, in which the ‘helpful animal’ is not a wolf but a fox.
2 . 托尔金无意识地以这种方式安排他想象中的中土世界的地理，可能并非偶然，因为它是在第二次世界大战期间的英国设想的。如果地图西边的“夏尔”指的是英格兰，那么它就受到以魔多为中心、威胁世界的索伦黑暗力量的巨大阴影的东部和东南部的威胁。这反映了当时希特勒在欧洲大陆的黑暗帝国从同一个方向给英国投下致命的阴影。托尔金否认他的故事与当代政治事件有任何相似之处（在本书第二版的前言中）；但其他人，包括他的兄弟，却提出了不同的建议。
2. It was probably no accident that Tolkien should unconsciously have arranged the geography of his imaginary world of Middle Earth in this way, conceived as it was in Britain around the time of the Second World War. If ‘the Shire’ to the western edge of the map was identified with England, it was threatened from the east and south-east by the vast, world-threatening shadow of the dark power of Sauron, centred in Mordor. This reflected the way in which, at the time, Hitler’s dark empire on the continent of Europe was casting a deadly shadow over Britain from the same general direction. Tolkien denied any conscious parallel between his story and contemporary political events (in his Foreword to the second edition of the book); but others, including his brother, have suggested otherwise.
3 . 与《指环王》中的其他地方一样，这里与约翰·巴肯的惊悚小说有着明显的相似之处。巴肯的故事讲述了英雄们在受到阴暗敌人威胁的荒野中奋战的故事，巴肯是托尔金为数不多的几位钦佩的现代小说作家之一。
3. There are clear echoes here, as elsewhere in The Lord of the Rings, of the thrillers of John Buchan. With his stories of heroes battling across wild landscapes threatened by shadowy enemies, Buchan was one of the few modern fiction writers Tolkien admired.
4 . 瓦格纳的戒指灵感来自于一个真实的神话——挪威沃尔松加传奇。讲述了矮人安德瓦里的戒指被洛基偷走后，被诅咒的戒指如何首先导致他自己的儿子法夫尼尔变成怪物；然后法夫纳死于伟大英雄沃尔松格西格德（瓦格纳的齐格弗里德）之手，西格德后来获得自由并与布伦希尔德结婚；最后是西格德自己的死亡（我们在第 24 章中查看瓦格纳的《指环》 ，在第 34 章中查看北欧神话）。当然，托尔金自己的大部分故事都是受到他对“黑暗时代”的北欧传奇和盎格鲁撒克逊史诗的学术研究的启发。
4. Wagner drew the inspiration for his ring from a genuine myth, the Norse Volsunga Saga. This tells how the ring cursed by the dwarf Andvari, after being stolen by Loki, leads first to his own son Fafnir turning into a monster; then to Fafnir’s death at the hand of the great hero Sigurd the Volsung (Wagner’s Siegfried), who goes on to free and marry Brynhild; and finally to Sigurd’s own death (we look at Wagner’s Ring-cycle in Chapter 24 and the Norse myths in Chapter 34). Much of Tolkien’s own story was, of course, inspired by his scholarly study of Norse sagas and Anglo-Saxon epics from the ‘Dark Ages’.
5 . 后来的这些戒指的象征意义可以在《哈利·波特与魔法石》中看到这是 JK 罗琳在 20 世纪 90 年代末和 21 世纪初广受欢迎的第一本书。在一个融合了《远航与回归》、《白手起家》、《战胜怪物》和《探索》元素的故事中，年轻的孤儿英雄在父母去世后受到收养他的郊区家庭的迫害，突然发现自己被带入了一个神秘的“另一个世界”。这个世界由魔法统治，居住着巫师、龙、巨魔和其他神话般的生物。在这里，他似乎已经出名了，因为当他还是个婴儿时，他的父母作为两个杰出的巫师，被这个世界的主要黑暗人物伏地魔杀死，而伏地魔在试图杀死哈利本人时被魔法摧毁了。因此，我们意识到，在经典的白手起家时尚中，这位男孩英雄因某种特殊的命运而被挑选出来。哈利开始进入魔法世界，并被送往霍格沃茨，一所为年轻的未来巫师开设的学校。在这里，他发现自己陷入了一场光明与黑暗之间的宇宙战争，这场战争最终集中在一场争夺“贤者之石”的竞赛上，“贤者之石”是一个拥有巨大魔法力量的物体。伏地魔的灵魂需要这个才能转世，继续他的邪恶工作。但当故事达到高潮时，哈利最终赢得了魔法石，魔法石却消失了。然后，学校校长、“聪明的老人”邓布利多教授告诉他，这也没什么不好，因为魔法石的力量，就像托尔金和瓦格纳的戒指一样，只能真正用于服务黑暗和黑暗势力。自私的结局。简而言之，就像戒指一样，它不是自我的象征，而是自我的象征。哈利之所以能够赢得它，只是因为他不想为自己赢得它，而只是以无私、拯救世界的名义。就像末日火山上佛罗多的戒指一样，它随后可以消失回到它所分离的“一”中。
5. A later parallel to the symbolism of these rings can be seen in Harry Potter and the Philosopher’s Stone, the first of the books by J. K. Rowling which enjoyed such popularity at the end of the 1990s and at the beginning of the twenty-first century. In a story combining elements of Voyage and Return, Rags to Riches, Overcoming the Monster and Quest, the young orphan hero, persecuted by the suburban family who have adopted him after the death of his parents, suddenly finds himself transported into a mysterious ‘other world’ governed by magic and peopled by wizards, dragons, trolls and other fabulous creatures. Here it seems he is already famous because, when he was a baby, his parents, as two distinguished wizards, had been killed by this world’s chief figure of darkness, Voldemort, who had been magically destroyed in trying to kill Harry himself. We thus realise how, in classic Rags to Riches fashion, the boy hero has been singled out for some special destiny. Harry is initiated into the magical world and sent to Hogwarts, a school for young would-be wizards. Here he finds himself caught up in a cosmic battle between light and dark which eventually centres on a race to secure the ‘Philosopher’s Stone’, an object of immense magical power. The spirit of Voldemort needs this to become reincarnated, to carry on his evil work. But when, at the story’s climax, Harry finally wins the Stone, it disappears. He is then told by Professor Dumbledore, the ‘wise old man’ who is the school’s headmaster, that this is just as well because the powers of the Stone, like those of Tolkien’s and Wagner’s rings, can only really be used to serve dark and selfish ends. Like the rings, in short, it is a symbol not of the Self but of the ego. Harry had only been able to win it because he did not want it for himself but only in the name of a selfless, world-saving cause. Like Frodo’s ring on Mount Doom, it can then disappear back into the ‘One’ from which it had been separated.
6 . 帕帕吉诺在《魔笛》中扮演的角色有助于阐明卡利班在《暴风雨》中扮演的角色的重要性。和帕帕吉诺一样，尽管卡利班肤色更黑、脾气更不好，但他代表着“自然人”：一个或多或少无意识和本能地生活、一无所知的人。帕帕吉诺的阴暗面被分裂出来并由莫诺斯塔托斯代表。卡利班的母亲西科拉克斯“是一位女巫，非常强大，可以控制月亮、控制潮汐”。就像夜女王一样，她是“大自然”。正是在这一点上，卡利班与普洛斯彼罗相反，普洛斯彼罗生活在如此崇高的意识层面，几乎了解一切。尽管作为主人和仆人，两人有着密切的联系，就像莫诺斯塔托斯是他的主人萨拉斯特罗智者的影子一样。只要普洛斯彼罗本人还没有完全康复，卡利班就代表着普洛斯彼罗王国中未重生的残余——即，普洛斯彼罗本人（“我确实承认我的黑暗之物”）。但就在普洛斯彼罗最终获得完整的那一刻，卡利班被曝光。人类自然的、无意识的最后一丝痕迹已经因完全理解的到来而被清除了。
6. The role played by Papageno in The Magic Flute helps to illumine the significance of that played by Caliban in The Tempest. Like Papageno, although he is much darker and less good-natured, Caliban stands for ‘natural man’: someone living more or less unconsciously and instinctively, understanding nothing. Papageno’s darker side is split off and represented by Monostatos. Caliban’s mother Sycorax ‘was a witch and one so strong that could control the moon, make flows and ebbs’. Like the Queen of the Night, she is ‘Mother Nature’. It is in this respect that Caliban is the opposite to Prospero, who lives on such a lofty plane of consciousness, understanding almost everything; although as master and servant the two are intimately connected, just as Monostatos is the shadow of his master, the Wise Old Man Sarastro. So long as Prospero himself is not yet completely whole, Caliban stands for the unregenerate remnant in Prospero’s kingdom – i.e., in Prospero himself (‘this thing of darkness I do acknowledge mine’). But at the moment when Prospero finally achieves wholeness, Caliban is brought to the light. The last vestige of natural, unconscious man has been purged by the arrival of complete understanding.
1 . 当然，亚里士多德并不是唯一一个使用Hamartia这个词的人。它也出现在《新约》中，通常被翻译成英文“sin”——这个词本身可能源自与“sinister”相同的词根，意思是一切以“左”的方式做的事情，与“正确”的方式相反（例如，比较一下俄罗斯短语“ na levo ”，“在左边”，适用于任何弯曲的、暗中的、“不完全正确的”事物）。在主祷文中，哈马蒂亚在十六世纪的英语中被翻译为“trespasses”或“stepping over the borders”，将其与傲慢的原始含义联系起来。从语言的根源来看，所有这些想法——没有达到目标、越界、没有以正确的方式做事、罪恶、错误——都是相关的。
1. Aristotle was not of course alone in using the word hamartia. It also appears in the New Testament, where it has usually been translated into English as ‘sin’ – a word which itself may originally have derived from the same root as ‘sinister’, meaning everything that is done in the ‘left’ way, as opposed to the ‘right’ way (compare, for instance, the Russia phrase, na levo, ‘on the left’, applied to anything which is crooked, underhand, ‘not quite right’). In the Lord’s Prayer, hamartia was translated into sixteenth-century English as ‘trespasses’, or ‘stepping over the bounds’, linking it back to the original meaning of hubris. At the roots of language all these ideas – missing the mark, stepping over the bounds, not doing things in the right way, sin, error – are related.
1 . 迈克尔·霍洛伊德（Michael Holroyd）在他的萧伯纳传记中揭示了萧伯纳与母亲的关系的痛苦本质，他爱母亲，但母亲却没有表现出对他的爱。她对所有男人都有强烈的反感，尤其是她的丈夫。唯一的例外是她的音乐老师乔治·范德勒·李 (George Vandeleur Lee)，他与家人住在都柏林，教肖夫人唱歌，而且很可能是她的情人。根据霍洛伊德的说法，肖将伊丽莎大致以他的母亲为原型，而希金斯以将她塑造成歌手的老师为原型，就像皮格马利翁在最初的希腊神话中塑造并赋予加拉蒂亚生命一样。
1. Michael Holroyd in his biography of Shaw brings out the tortured nature of Shaw’s relationship with his mother, whom he loved but who showed no love for him. She had a strong antipathy to all men, particularly her husband. The one exception was her music teacher, George Vandeleur Lee, who shared the family home in Dublin, taught Mrs Shaw to sing and may well have been her lover. Shaw, according to Holroyd, based Eliza loosely on his mother and Higgins on the teacher who had moulded her into a singer, much as Pygmalion had moulded and brought Galatea to life in the original Greek myth.
2 . 事实上，我们从卢卡斯后来的星球大战系列电影中了解到，尽管莱娅不是他的母亲，但她是仅次于卢卡斯的姐姐！我在这里处理了原版星球大战作为一个独立的故事，正如它第一次出现时的意图一样。但在接下来的几十年里，卢卡斯受到其成功制作的一系列续集和“前传”的启发，继续广泛地尝试 1977 年版本中出现的原型人物，直到我们最终得知达斯·维德 (Darth Vader)是卢克·天行者的父亲。年轻时，维德是绝地武士中最勇敢的人之一，也是欧比旺·克诺比最亲密的朋友。但随后他就转向了黑暗的一面，就像故事史上的其他“堕落天使”一样，从弥尔顿的《失乐园》中的路西法到《指环王》中的萨鲁曼。从原型的角度来看，这并没有什么奇怪的，因为即使在原版电影中，卢克与“黑魔王”的关系也完全符合儿子英雄与黑暗父亲形象的关系。
2. In fact we learn from a later film in Lucas’s Star Wars sequence that, although not his mother, Leia is the next best thing, as Luke’s older sister! I have here treated the original Star Wars as a story standing alone in its own right, as was intended when it first appeared. But in the succession of sequels and ‘prequels’ Lucas was inspired by its success to produce over the following decades, he continued to play around extensively with the archetypal figures who appeared in the 1977 version, to the point where we eventually learn that Darth Vader was Luke Skywalker’s father. As a young man, Vader had been one of the bravest of the Jedi Knights and Obi-Wan Kenobi’s closest friend. But he had then switched to the side of darkness, like other ‘fallen angels’ in the history of storytelling, from Lucifer in Milton’s Paradise Lost to Saruman in The Lord of the Rings. In archetypal terms there is nothing odd about this since, even in the original movie, Luke’s relationship to the ‘Dark Lord’ is entirely consistent with that of a Son-Hero to a Dark Father-figure.
1 . 普鲁斯特自己生活中的另一段间接呈现的插曲是他在军队度过的那一年。但这在小说中的另一个重要人物罗伯特·圣卢（Robert Saint-Loup）身上得到了体现，他是一位潇洒、自信的年轻贵族，深受女性欢迎，担任军官，有着普鲁斯特的男性气质。喜欢成为（他的名字与他母亲给普鲁斯特起的昵称相呼应）。从这个意义上说，像斯万一样，圣卢代表了他（和叙述者）“分裂”的男子气概，尽管最终我们看到他也进入了性的暮光区，首先是他与妓女“雷切尔来自上帝”的恋情’，最后他也变得至少部分是同性恋。
1. Another episode in Proust’s own life presented only obliquely is the year he spent in the army. But this is reflected through another significant character in the novel, Robert Saint-Loup, the dashing, confident young aristocrat, popular with women, who serves as an army officer, and who cuts the kind of manly figure the masculine part of Proust might have liked to be (his name echoing the pet name Proust was given by his mother). In this sense, like Swann, Saint-Loup represents his (and the narrator’s) ‘split-off’ manhood, although eventually we see him too entering the sexual twilight zone, first in his love affair with the prostitute ‘Rachel When From The Lord’, and finally when he also becomes at least in part homosexual.
2 . 科幻小说（当然与科学事实实际上没有任何关系）出现的部分原因恰恰是它使上个世纪的故事讲述者能够想象神话维度的故事。自从HG威尔斯在《世界大战》中的《火星人》以来，这不仅允许创造出与古代世界神话中一样可怕的“怪物”。在《星球大战》这样的故事中也是如此，使讲故事的人能够创造出另类的境界，里面有国王、“黑暗领主”、公主、骑士、妖精、巨人以及所有神话和传说的原型用具，而不会自觉地显得过时，因为这些故事都是以“未来'。同样，通过召唤科学的“魔法”，它当然也可以为英雄们提供相当于古代神话传说中珀尔修斯等人使用的“魔法”武器的现代武器。
2. Part of the reason for the emergence of science fiction (which of course has virtually no connection with science fact) is precisely that it has enabled storytellers of the past century to imagine stories of mythical dimension. Not only, since H. G. Wells’s Martians in The War of the Worlds, has this allowed for the creation of ‘monsters’ just as monstrous as any in the myths of the ancient world. It also, in tales like Star Wars, enables storytellers to create alternative realms, peopled by kings, ‘dark lords’, princesses, knights, goblins, giants and all the archetypal paraphernalia of myth and legend, without seeming to be self-consciously archaic, because such stories are set in ‘the future’. In the same way, by calling on the ‘magic’ of science, it can also, of course, provide heroes with the modern equivalents of those ‘magic’ weapons used by Perseus and Co. in the myths and legends of yore.
3 . 用原型术语来说，ET明显地呼应了“基督神话”（见第 33 章）。和耶稣一样，外星人是一位具有超自然智慧的英雄，他从“其他地方”来到地球，创造了一系列奇迹，并建立了一小群忠实的追随者。他与尘世的“统治力量”越来越不和，最终将他困住并处死。他奇迹般地复活了，并与他的追随者一起停留了很短的时间，然后他带领他们到一个孤独的地方，看着他升回他来自的天堂。
3. In archetypal terms, E.T. carries clear echoes of the ‘Christ myth’ (see Chapter 33). Like Jesus, E.T. is a supernaturally intelligent hero who comes to earth from ‘somewhere else’, performs a series of miracles and builds up a small group of devoted followers. He becomes increasingly at odds with the earthly ‘ruling power’, which eventually traps him and puts him to death. He is miraculously resurrected and remains for a short further time with his followers, before he leads them out into a lonely place to watch him ascending back into the heaven whence he came.
1 . 当巴克·穆里根（Buck Mulligan）在开头段落中模仿拉丁弥撒时举起剃须碗并吟诵“ Introibo ad altare Dei”时，我们得到了第一个暗示，即整本书将成为对自我的蔑视。”（“我即将进入上帝的祭坛前”）。小说提出的一个谜题是，为什么乔伊斯会被吸引去创造一个现代的对手来对抗一个他似乎对此知之甚少的故事。在理查德·埃尔曼（Richard Ellmann）的乔伊斯传记中，他引用乔伊斯的话说，为什么他“总是回到这个主题？” 乔伊斯的回答是：“我发现《尤利西斯》的主题是世界文学中最人性化的。尤利西斯不想去特洛伊；他不想去特洛伊。他知道战争的官方原因，即传播希腊文化，只是希腊商人寻求新市场的借口……这很奇怪。这场战争的“官方”原因是荷马所描述的，即斯巴达国王墨涅拉俄斯的妻子海伦与特洛伊国王普里阿摩斯的儿子帕里斯私奔。由于没有历史证据表明特洛伊战争曾经发生过，因此通过一种对次马克思主义修正主义的戏仿来解释它似乎是有悖常理的。人们很可能会争辩说，奥德修斯的故事是“世界文学中最人性化的故事”：但乔伊斯认为，出于任何原因，这似乎并非如此，这可能进一步解释了为什么这两个故事在各个方面都如此截然对立。
1. We get a first hint that the whole book is going to be a defiance of the Self when, in its opening paragraph, Buck Mulligan holds up his shaving bowl in a parody of the Latin Mass and intones ‘Introibo ad altare Dei’ (‘I am about to enter before the altar of God’). One puzzle raised by the novel is why Joyce should have been attracted to creating a modern rival to a story of which he seems to have had so little understanding. In Richard Ellmann’s biography of Joyce, he cites him asking why was he ‘always returning to this theme?’ Joyce’s answer: ‘I find the subject of Ulysses the most human in world literature. Ulysses didn’t want to go off to Troy; he knew that the official reason for the war, the dissemination of the culture of Hellas, was only a pretext for the Greek merchants, who were seeking new markets ....’ This is bizarre. The ‘official’ reason for the war was the one described by Homer, that Helen, the wife of the Spartan king Menelaus, had run off with Paris, the son of the Trojan king Priam. Since there is no historical evidence that the Trojan War ever took place, it seems perverse to explain it through a kind of parody of sub-Marxist revisionism. One may well argue that the story of Odysseus is ‘the most human in world literature’: but not, it seems, for any reason discerned by Joyce, which may further explain why the two stories are so polarically opposed in every way.
2 . 正是这一事件后来促使牛津万灵学院院长约翰·斯帕罗在《相遇》杂志上发表的一篇著名文章中声称，劳伦斯打算展示梅勒斯通过鸡奸行为进入康斯坦斯。作为一名同性恋斯帕罗，他不会意识到男人和女人可以很自然地以劳伦斯所描述的方式享受性交。
2. It was this episode which later prompted John Sparrow, Warden of All Souls College, Oxford, in a famous article in Encounter, to claim that Lawrence had intended to show Mellors entering Constance by an act of buggery. As a homosexual Sparrow would not have realised that a man and a woman can quite naturally enjoy intercourse in the fashion Lawrence described.
3 . 这呼应了伊恩·弗莱明曾经为他的詹姆斯·邦德小说是“色情”的指控所做的辩护：“就莎士比亚而言，性是一个完全合理的主题，我真的不明白为什么它不应该像就我而言。
3. This echoed the defence once offered by Ian Fleming to the charge that his James Bond novels were ‘pornographic’: ‘Sex was a perfectly reasonable subject as far as Shakespeare was concerned, and I don’t really see why it shouldn’t be as far as I’m concerned.’
4 . 作者对Saved出版版的注释（Methuen，伦敦，1966 年）。回想起来，这部剧的一个令人惊讶的特点可能是它的语言相对温和。尽管五年前就有查泰莱夫人案，但现阶段在公共场合使用此类词的情况仍然非常罕见，这要归功于“四字母词”禁忌的力量。事实上，1965 年秋天那几周歇斯底里情绪的另一个症状是，在《Saved》首映仅 10 天后在一次精心安排的 BBC 电视采访中，这一禁忌受到了对“进步”评论家、现任国家剧院文学经理肯尼思·泰南 (Kenneth Tynan) 的精心安排的挑战。泰南被问到是否会允许在国家剧院上演“在舞台上发生性行为”的戏剧。这使得他能够给出奇怪的无关紧要的回答：“我怀疑是否有任何理性的人会认为‘操’这个词特别邪恶、令人反感或完全被禁止。” 我认为任何可以打印或说出来的东西都可以被看到。从某种意义上说，这是泰南职业生涯的顶峰。这次政变成功地达到了引起公众轰动的目的。BBC 总机里挤满了抗议者。以乔纳森·米勒博士和乔治·梅利为首的泰南的进步人士纷纷公开向他表示祝贺。查泰莱夫人审判”。直到接下来的 15 到 20 年里，四个字母的单词才在舞台和银幕上普遍使用。如果邦德的剧本是后来写的，那么它的对话无疑就不会包含其他内容了。
4. Author’s note to the published edition of Saved (Methuen, London, 1966). A surprising feature of the play in retrospect might be how comparatively mild was its language. It was a tribute to the force of the taboo on ‘four-letter words’ that, despite the Lady Chatterley case five years earlier, the use of such words in public was still at this stage remarkably rare. Indeed another symptom of the hysterical mood of those weeks in the autumn of 1965 was that, only 10 days after the premiere of Saved, this taboo was ostentatiously challenged in a carefully set-up BBC television interview with Kenneth Tynan, the leading ‘progressive’ critic, now literary manager of the National Theatre. Tynan was asked whether he would allow a play to be staged at the National in which ‘sexual intercourse took place on the stage?’. This allowed him to give the strangely inconsequential reply ‘I doubt if there are any rational people to whom the word “fuck” would be particularly diabolical, revolting or totally forbidden. I think that anything that can be printed or said can also be seen.’ In a sense it was the highpoint of Tynan’s career. The coup succeeded in its aim of creating a public sensation. The BBC switchboard was jammed with protests. Tynan’s fellow-progressives, led by Dr Jonathan Miller and George Melly, rushed publicly to congratulate him. He later compounded his inconsequentiality by claiming that he had only been ‘quoting from the evidence in the Lady Chatterley trial’. Only over the next 15–20 years did the use of four-letter words on stage and screen become general. Had Bond written his play later, its dialogue would doubtless have contained little else.
5 . 1968 年，评论家肯·泰南 (Ken Tynan) 发起了一场宣传自慰乐趣并使其“受人尊敬”的运动。在讲故事的过程中，这种痴迷在菲利普·罗斯的小说《波特诺伊的抱怨》 （1969）中得到了最广为人知的表达，该小说讲述了一个以母亲为主导的纽约犹太男孩设法与许多非犹太女孩发生性关系，但却发现自己的性关系。最大的乐趣在于无尽的、强迫性的手淫。最终他去了以色列，在那里他与一名犹太女孩发生了关系，他与她结婚在社会上是可以接受的。但他对单独性行为的痴迷最终胜出，他回到了母亲身边。
5. In 1968 the critic Ken Tynan was to launch a campaign to promote the joys of masturbation and to make it ‘respectable’. In storytelling this obsession was to reach its most publicised expression in Philip Roth’s novel Portnoy’s Complaint (1969), about a mother-dominated New York Jewish boy who manages to have sexual relations with a number of girls, all non-Jewish, but finds his greatest pleasure in endless, compulsive masturbation. Eventually he goes to Israel where he has an affair with a Jewish girl, whom it would be socially acceptable for him to marry. But his obsession with solitary sex wins out and he returns to mother.
6 . 20世纪60年代初前卫叙事最显着的特征之一是情节和结构的崩溃。像阿兰·雷乃导演、阿兰·罗伯-格里耶编剧的《马里昂巴德的安妮》（1961）、米开朗基罗·安东尼奥尼的《奇遇》（1960）和《落日》（1962）这样的电影都故意表现出梦幻般的无关紧要的效果。去年在马里昂巴德，在一座带有正式花园的雄伟城堡中拍摄，以一位美丽的女人（“A”）遇见一位英俊的陌生人（X）为中心，后者试图让她相信他们以前见过面，可能是在某个度假酒店，也可能是在马里昂巴德，她可能答应和他私奔。“A”声称不记得他们的会面，但从未明确他们是否真的见过面。这部电影之所以具有如此诱人的魅力，关键在于它是一部尼克变形电影。正是因为它没有向观众提供足够的信息来理解正在发生的事情，所以这个故事就像在梦中一样，让人产生一种无法完全理解的难以捉摸的意义。一位作家威廉·巴勒斯 (William Burroughs) 的作品更简单地反映了这种分裂，他是一位美国同性恋者和海洛因成瘾者，《裸体午餐》继续尝试一些故事，其中的句子被设计为随机打乱并以任何顺序阅读。
6. One of the more conspicuous features of avant-garde storytelling in the early 1960s was the collapse of plot and structure. Films like L’Année Dernière à Marienbad (1961), directed by Alain Resnais and scripted by Alain Robbe-Grillet, or L’Avventura (1960) and L’Eclisse (1962) by Michelangelo Antonioni were dreamlike in their deliberate inconsequentiality. Last Year In Marienbad, shot in an imposing chateau with formal gardens, centred on a beautiful woman (‘A’) meeting a handsome stranger (X’), who tries to convince her that they had met before, possibly at some resort hotel, possibly in Marienbad, where she may have promised to run away with him. ‘A’ claims not to remember their meeting, but it is never made clear whether they actually met or not. The key to the film’s tantalising power was that it was a nyktomorph. Precisely because it teased its audience by not providing enough information for them to make sense of what was happening, the story, as in a dream, conjured up a sense of some elusive significance which could not be fully grasped. A writer whose work reflected this disintegration rather more simplistically was William Burroughs, an American homosexual and heroin addict, who, after writing a pornographic novel The Naked Lunch, went on to experiment with stories in which the sentences were designed to be randomly jumbled up and read in any sequence.
7 . 库布里克的电影版本改编自安东尼·伯吉斯的小说，厌恶疗法的效果并没有消失，因此亚历克斯仍然发生了变化。伯吉斯对库布里克重写故事结局感到非常愤怒，以至于他撤回了对电影版本的支持。
7. In the novel by Anthony Burgess from which Kubrick’s film-version was adapted, the effects of the aversion therapy do not wear off, so that Alex remains transformed. Burgess was so angry at Kubrick’s rewriting of the story’s ending that he withdrew his support from the film version.
1 . 第一个记录在未来特定日期的故事是 1763 年在伦敦匿名出版的英国故事，题为《乔治六世的统治 1900-25》。这描述了二十世纪初，一位“英国爱国者国王”如何挽回国家衰败的命运，击败外国列强联盟，最终于 1918 年在维也纳郊外战胜一支庞大的俄罗斯军队，使英国成为世界霸主。欧洲。尽管这个故事的一些巧合是不可思议的，比如它预言了一场伟大的欧洲战争将于 1918 年结束，但它所预测的未来世界看起来与故事写作时的世界非常相似：因此，二十世纪的战争据说还没有结束。战斗采用十八世纪风格，使用大炮、步枪和骑兵冲锋。
1. The first recorded story which was set at a specific date in the future was an English tale published anonymously in London in 1763 entitled The Reign of George VI 1900-25. This described how, in the early twentieth century, a ‘Patriot King of England’ restored the fallen fortunes of his country and defeated an alliance of foreign powers, culminating in victory over a huge Russian army outside Vienna in 1918, making Britain the master of Europe. Although some of the story’s coincidences are uncanny, such as its prediction of a great European war ending in 1918, the world it projected into the future looked remarkably like that of the time when the story was written: so that twentieth century wars were supposedly still being fought in eighteenth-century style, with cannons, muskets and cavalry charges.
2 . 这一论点与陀思妥耶夫斯基的《卡拉马佐夫兄弟》中大审判官对基督的讲话相呼应。当基督重返地球时，他被西班牙天主教会监禁，因为他的教义必须被视为颠覆教会以基督教名义批准的极权社会秩序。
2. This argument echoes that of the speech made by the Grand Inquisitor to Christ in Dostoyevsky’s The Brothers Karamazov. When Christ returns to earth he is imprisoned by the Spanish Catholic Church because his teaching must be regarded as subversive of the totalitarian social order sanctioned by the Church in the name of Christianity.
3 . 我们在《终结者》的续集《审判日》的结局中看到了这种模式的体现。这些电影的主题还在于个人以人类价值观的名义反抗主宰世界的极权制度。其他基于此主题的“科幻”故事包括《太空商人》(1953) 由科恩布鲁斯和波尔提出，其中世界体系由大公司主导，这些大公司通过无情的广告口号轰炸来奴役世界上的每个人。主人公是在两大广告公司之一工作的高级文案撰稿人，他加入了一个由“环保主义者”组成的地下网络，他们试图拯救世界，使其免遭过度开发物质资源所造成的破坏。最后，他与妻子逃到金星，开始了基于保护的新文明。另一部基于此情节的电影是弗朗索瓦·特吕弗的《华氏 451 度》（1966），展示了一个极权社会，所有书籍都因具有颠覆性而被禁止。英雄是一名消防员，他的工作是找出所有书籍并将其烧毁（451 华氏度是纸张的燃点）。他的幻灭随后促使他加入了一个由持不同政见者组成的地下网络，旨在推翻体制。
3. We saw this pattern reflected in the conclusion of Judgement Day, the sequel to The Terminator. These films are also shaped by the theme of an individual rebelling in the name of human values against a world-dominating totalitarian system. Other ‘science fiction’ stories based on this theme include The Space Merchants (1953) by Kornbluth and Pohl, in which the world-system is dominated by huge corporations which act to enslave everyone in the world to consumerism through a relentless bombardment of advertising slogans. The hero, a senior copywriter working for one of the two big advertising agencies, joins an underground network of ‘conservationists’ who are trying to save the world from destruction by over-exploitation of its material resources. He ends by escaping with his wife to Venus to start a new civilisation based on conservation. Another film based on this plot was Francois Truffaut’s Fahrenheit 451 (1966), showing a totalitarian society in which all books are banned as subversive. The hero is a fireman whose job is to seek out any books and burn them (451 degrees Fahrenheit being the burning point of paper). His disillusionment then draws him into joining an underground network of dissidents who aim to overthrow the system.
1 . 白衣女子最初提出的谜语夜晚，在一条偏僻的乡间小路上，出现了一位心烦意乱的白衣年轻女子，被神秘的追捕者追赶。从情节角度来看，接下来的复杂故事的有趣之处在于，这个最初令人难以忘怀的女性形象逐渐分化为三个姐妹。原版的安妮只是一个软弱无助的受害者，被两个邪恶的恶棍关进了精神病院，珀西·格莱德爵士是一位准男爵，他与安妮的妹妹劳拉和他肥胖、圆滑、险恶的朋友订婚了。福斯科伯爵。他们这样做是因为安妮发现了有关珀西爵士的一个令人震惊的秘密，而他决心将这个秘密隐藏起来。劳拉比安坚强，但这两个“怪物人物”随后设法将她也送进了疯人院。故事的关键就变成了三姐妹玛丽安，她比其他人更坚强、更精明，而她，作为一个完全“主动”的女主角，最终智胜了两个恶棍，将他们击溃。玛丽安也发现了珀西爵士的可怕秘密，那就是他是非婚生子女，根本不是真正的男爵。在试图销毁证据时，他不小心烧死了自己。福斯科被他背叛的意大利秘密社团谋杀。从情节上来说，这个故事是神秘和战胜怪物的结合，玛丽安向我们展示了一个不寻常的前现代女性“怪物杀手”的例子。的方式' 玛丽安还发现，他是非婚生的，根本不是真正的男爵。在试图销毁证据时，他不小心烧死了自己。福斯科被他背叛的意大利秘密社团谋杀。从情节上来说，这个故事是神秘和战胜怪物的结合，玛丽安向我们展示了一个不寻常的前现代女性“怪物杀手”的例子。的方式' 玛丽安还发现，他是非婚生的，根本不是真正的男爵。在试图销毁证据时，他不小心烧死了自己。福斯科被他背叛的意大利秘密社团谋杀。从情节上来说，这个故事是神秘和战胜怪物的结合，玛丽安向我们展示了一个不寻常的前现代女性“怪物杀手”的例子。的方式' 玛丽安向我们展示了一个不同寻常的前现代女性“怪物杀手”的例子。的方式' 玛丽安向我们展示了一个不同寻常的前现代女性“怪物杀手”的例子。的方式'故事中的“阿尼玛形象”经历了三个阶段的发展，从最初无助的受害者安到她最后的表现，坚强、足智多谋，但仍然具有女性气质的玛丽安可能还记得那些民间故事，比如《三只粗暴的比利山羊》，在那里我们看到了英雄人物通过三个转世逐渐变得更强，直到他足够强大和成熟来战胜怪物。
1. The initial riddle posed by The Woman in White is the apparition on a lonely country road at night of a distraught young woman dressed in white, being chased by mysterious pursuers. In plot terms what is interesting about the complex story which follows is the way this original haunting feminine figure gradually differentiates into three, who are all sisters. The original version, Anne, is simply a weak, helpless victim, who has been incarcerated in a mental asylum by two evil villains, Sir Percy Glyde, a baronet, who is engaged to Anne’s sister Laura, and his fat, smooth, sinister friend Count Fosco. They have done this because Anne has discovered an appalling secret about Sir Percy, which he is determined should remain hidden. Laura is stronger than Ann, but the two ‘monster-figures’ then manage to get her also consigned to the asylum. The key to the story then becomes the third sister Marian, stronger and shrewder than the others, and it is she who, as a fully ‘active’ heroine, eventually outwits the two villains and puts them to rout. Sir Percy’s awful secret, which Marian also discovers, is that he had been born out of wedlock, and is not really a baronet at all. While trying to destroy the evidence for this, he accidentally burns himself to death. Fosco is murdered by an Italian secret society which he has betrayed. In plot terms, the story is thus a combination of Mystery and Overcoming the Monster, and Marian presents us with an unusual pre-modern example of a feminine ‘monster-slayer’. The way the ‘anima-figure’ in the story develops through three stages, from the original helpless victim Ann into her final manifestation as the tough and resourceful, but still feminine Marian may recall those folk-tales such as The Three Billy Goats Gruff, where we see a hero-figure progressively becoming stronger through three incarnations, until he is powerful and mature enough to overcome the monster.
2 . 另一位在许多电影中明显依赖悬疑情节元素的好莱坞导演是阿尔弗雷德·希区柯克。例如，《后窗》（1954）是一部直截了当的侦破悬疑片，主人公是一名杂志摄影师（詹姆斯·斯图尔特饰演），因受伤被限制在纽约的公寓里，通过监视邻居来寻求消遣，他确信自己看到了其中一人犯下了谋杀罪，尽管没有尸体的迹象。尽管最初遭到了他女朋友的怀疑，然后是他在纽约警察局的朋友的怀疑，但他的推论最终被证明是正确的，凶手也承认了。一个更复杂的谜团激发了希区柯克最受欢迎的电影《迷魂记》的灵感（1958），其中的主人公“斯科蒂”（再次由斯图尔特扮演）是一名旧金山警察，由于未能阻止一名同事从屋顶坠落，他患有严重的眩晕症，因此被迫退休。他受命调查困扰一位富有朋友的妻子的奇怪问题，这位朋友似乎认为她是一位英年早逝的美丽而悲惨的十九世纪祖先的转世。斯图尔特爱上了妻子（金·诺瓦克饰），并在她的带领下来到城南的一个古老的西班牙传教站，她似乎还记得她的前世。当她登上教堂塔楼时，他因眩晕而缓慢地跟上她，并看到她坠落身亡。由于无法阻止这场悲剧而受到创伤，他接受了医院治疗，但随后认为自己看到了与死者几乎一模一样的替身（也是金·诺瓦克）。他向她求爱，并逐渐怀疑她是同一个女人。他给她穿上同样的衣服，然后带她回到同一座教堂。至此，他已经解开了这个谜团。事实上，他是被丈夫陷害的，目的是为谋杀提供掩护。他看到的从塔上掉下来的女人是这个男人真正的妻子；金·诺瓦克扮演的女人是他的情妇。第一次，当她在他面前爬上塔时，丈夫已经躲在那里，准备将妻子（穿着同样的衣服）扔下塔。他依靠眩晕发作来确保斯科蒂无法爬到足够高的高度来看到所发生的事情的真相。然后他和他的情妇在看不见的情况下，他们逃脱了。当英雄把情妇带回塔楼，让她面对她在这起谋杀案中所扮演的角色时，她非常沮丧，以至于意外地摔死了。但从未解释过为什么英雄没有被要求辨认最初受害者的尸体，那样真相就会更早地浮出水面。但那样的话，当然就不会有故事了。
2. Another Hollywood director who conspicuously relied on elements of the Mystery plot in many of his films was Alfred Hitchcock. Rear Window (1954), for instance, was a straightforward detection mystery in which the hero, a magazine photographer (played by James Stewart) confined by injury to his New York apartment and seeking diversion by spying on his neighbours, is convinced he has seen one of them committing a murder, although there is no sign of the body. Despite initial scepticism, first from his girlfriend, then from his friend in the New York police department, his deductions eventually prove correct and the murderer confesses. A more complex mystery inspired Hitchcock’s most popular film, Vertigo (1958), in which the hero ‘Scottie’ (again played by Stewart) is a San Francisco policeman forced into retirement because, following his failure to stop a colleague falling from a roof, he suffers acutely from vertigo. He is commissioned to investigate the strange problem afflicting the wife of a rich friend, who seems to imagine she is the reincarnation of a beautiful and tragic nineteenth-century ancestor who had died young. Stewart falls in love with the wife (Kim Novak) and is led by her to an old Spanish mission station south of the city, which she seems to recall from her previous life. When she ascends the church tower, he is slow to follow her because of his vertigo and sees her falling to her death. Traumatised by his inability to prevent this tragedy, he undergoes hospital treatment but then thinks he sees the dead woman’s near-exact double (also Kim Novak). He woos her and gradually comes to suspect that she is the same woman. Having dressed her in the same clothes, he takes her back to the same church. By now he has unravelled the mystery. He had in fact been set up by the husband to provide cover for a murder. The woman he saw falling from the tower had been the man’s real wife; the woman played by Kim Novak was his mistress. On the first occasion, when she climbed the tower before him, the husband had already been hiding up there, ready to throw his wife (dressed in identical clothes) off the tower. He had relied on an attack of vertigo to ensure that Scottie would not have been able to climb high enough to see the truth of what happened. He and his mistress had then, unseen, made their escape. When the hero takes the mistress back up the tower, to confront her with the part she had played in this murder, she is so dismayed that, quite accidentally, she falls to her death. But it is never explained why the hero was not asked to identify the original victim’s body, at which point the truth would have come out much earlier. But then of course there would have been no story.
3 . 另一部部分基于神秘情节的伟大文学作品是陀思妥耶夫斯基的最后一部小说《卡拉马佐夫兄弟》。从这本长书的开头段落我们知道，这是一个谋杀故事，涉及费奥多尔·卡拉马佐夫（Fyodor Karamazov）的死亡，他是一位富有、恃强凌弱、放荡的地主。他与两个年轻的妻子生了三个儿子，但现在都已去世，但他几乎抛弃了他们。让人想起一个民间故事，两个儿子在相反的方面是消极的，第三个是积极的。德米特里就像他的父亲一样，是一个身体强壮、醉酒的恶霸。伊万已经走向了相反的男性极端，他退回到思想中，由于过度依赖智力而与感觉和现实隔绝。第三个儿子阿廖沙无私、充满爱心、虔诚，与他的精神导师佐西马神父（最终去世）住在一座修道院里。还有一个神秘的第四个儿子斯梅尔佳科夫，他是老卡拉马佐夫和“臭Lizaveta”之间短暂的不正当关系所生的，一个悲伤的社会弃儿 从他们与父亲的痛苦关系来看，德米特里和伊万似乎都很想杀死这个老怪物，而当谋杀真正发生时，伊万至少部分参与了所发生的事情（尽管，作为一个优秀的知识分子） ，他一直小心翼翼地与犯罪的恶劣现实保持距离）。但德米特里的行为最可疑，因此被捕并接受审判。尽管法庭掌握的证据表明真正的凶手是斯乜尔加科夫，他是最受阴影笼罩的儿子，被拒绝且精神不稳定，但这一证据仍被驳回，因为斯乜尔加科夫随后自杀了。德米特里因此被错误地判有罪。故事的主人公阿辽沙是他的儿子，他的力量不足以阻止这一切的发生。但现在他的黑暗父亲已经死了，他可以追随他的“光明父亲形象”佐西玛的脚步，踏上自我实现之路。在故事的结尾，为了证实自我的形象最终从周围的黑暗中显现出来，我们还看到了被谴责但无辜的德米特里，他被自己的痛苦净化了，准备逃亡到美国开始新的生活。
3. Another great work of literature based in part on the Mystery plot was Dostoyevsky’s final novel, The Brothers Karamazov. We know from the opening paragraph of this long book that it is to be a murder story, involving the death of Fyodor Karamazov, a rich, bullying, debauched landowner. He has had three sons by two young wives, both now dead, but has all but abandoned them. In a way reminiscent of a folk tale, two sons are negative, in opposing respects, the third positive. Dmitri is like his father, a physically strong, drunken bully. Ivan has gone to the opposite masculine extreme, by retreating into the mind, cut off from feeling and reality by his over-dependence on the intellect. The third son, Alyosha, selfless, loving and devout, lives in a monastery with his spiritual mentor Father Zossima (who eventually dies). There is also a shadowy fourth son, Smerdyakov, born from a short-lived illicit affair between old Karamazov and ‘stinking Lizaveta’, a sad social outcast. From their tortured relationships with their father, it seems that both Dmitri and Ivan might well be tempted to kill the old monster, and when the murder actually takes place, Ivan is at least partly complicit to what has happened (although, as a good intellectual, he has been careful to distance himself from the nasty physical realities of the crime). But it is Dmitri who behaves most suspiciously, and who is therefore arrested and put on trial. Even though the court is presented with evidence that the true murderer was Smerdyakov, the most shadowed son of all, rejected and mentally unstable, this is dismissed, because Smerdyakov had then committed suicide. Dmitri is thus wrongly found guilty. The son who had not been strong enough to prevent any of this happening is Alyosha, the story’s hero. But now that his Dark Father is dead, he can set off on the road to Self-realisation by following in the footsteps of his ‘light Father-figure’, Zossima. At the end of the story, to confirm this image of the Self at last emerging from all the surrounding darkness we also see the condemned but innocent Dmitri, purified by his sufferings, preparing to escape to start a new life in America.
1 . 当然，从字面意义上讲，我们不可能相信俄狄浦斯很久以前就不会告诉伊俄卡斯塔他的一生，就像他不可能不知道拉伊俄斯的死亡情况一样。但这种异常现象对于更深层次的戏剧来说是偶然的。
1. In a literal sense, of course, it is impossible to believe that Oedipus would not have told Jocasta the story of his life long before, just as it is impossible that he would not have learned the circumstances of Laius’s death. But such anomalies are incidental to the deeper drama.
2 . 据观察，观看这部展现一个人必须面对自己的罪孽的戏剧，可以在一些观众中唤起长期压抑的对自己生活的负罪感。我记得 20 世纪 50 年代，在埃文河畔斯特拉特福上演该剧时，当悲剧走向高潮时，很多观众显然再也无法忍受，偷偷溜出了剧院。尽管这些人并没有真正弑父娶母，但这场戏在他们心中激起的普遍不安感却变得难以忍受。
2. It has been observed how simply watching this play, showing a man having to face up to his own guilt, can in some spectators evoke a long-repressed sense of guilt about their own lives. I recall how, during a particularly powerful production of the play at Stratford-on-Avon in the 1950s, a good many people in the audience, as the Tragedy moved towards its climax, could evidently take no more and stole out of the theatre. Although these people had not literally killed their fathers and married their mothers, the more general sense of unease the play aroused in them became too much to bear.
3 . 当然，弗洛伊德从他相当狭隘的视角出发，直观地抓住了这种模式，为他的“俄狄浦斯情结”理论提供了基础：即困扰许多人的基本心理问题在于他们无法解决他们的关系。与母亲在一起，让他们成为对父亲无意识“死亡愿望”的牺牲品。他正确但没有充分理解的是，在人类发展的模式中，一个没有完全意识到自己的男性气质的男人仍然被冻结在“黑暗母亲”的魔咒之下。因此，他在某种程度上仍然是一个“母亲的儿子”，与“父亲”的价值观相冲突，而“父亲”代表了他无法发展的男子气概。这反过来又使他无法正确地发展他的阿尼玛，他自己的“内在女性气质”。弗洛伊德未能认识到的是“未实现的价值”法则，根据该法则，“黑暗之父”的形象代表了英雄需要通过实现完全男性化而使自己变得积极才能成功的消极版本。 -女性平衡，这将使他成为“光之父”。
3. It was this pattern of course which, from his rather narrow perspective, Freud intuitively seized on to provide the basis for his theory of the ‘Oedipus complex’: the idea that the fundamental psychological problem afflicting many men lies in their inability to resolve their relationship with their mother, leaving them prey to an unconscious ‘death wish’ against their father. What he had recognised, correctly but without full understanding, was that, in the pattern of human development, a man who has not fully realised his masculinity remains frozen under the spell of the ‘Dark Mother’. He thus remains in some way a ‘mother’s boy’, in conflict with the values of ‘Father’ which represent the masculinity he is unable to develop. This in turn renders him unable properly to develop his anima, his own ‘inner feminine’. What Freud failed to recognise was the law of the ‘unrealised value’, by which the figure of the ‘Dark Father’ represents a negative version of that which the hero needs to make positive in himself in order to succeed, by achieving the full masculine-feminine balance which will allow him to become a ‘Light Father’.
1 . 拉鲁斯神话百科全书（伦敦，1959 年），第 14 页。466.
1. Larousse Encyclopaedia of Mythology (London, 1959), p. 466.
2 . 自“大爆炸”理论在 20 年代至 1950 年代首次形成以来，人们提出了各种修改，其中包括元素形成发生在初始爆炸后相当长一段时间的假设。但上述描述提供了该理论最初出现时的粗略总结。
2. Since the ‘Big Bang’ theory first took shape between the 1920s and the 1950s, various modifications have been put forward, including a hypothesis that the formation of the elements took place a considerable time after the initial explosion. But the above account provides a crude summary of the theory as it originally emerged.
3 . 近年来，人们做出了各种尝试来为人类意识与其他动物意识之间的差异提供科学定义。所有这些的一个根本缺陷在于他们没有考虑到自我与本能之间分裂所产生的后果。例如，迈克尔·托马塞洛（Michael Tomasello）在《人类认知的文化起源》中（哈佛大学出版社，2000），他的理论基于对猿类和人类儿童学习过程的观察。他认为，人类的独特之处在于他们具有同理心模仿彼此的能力。他认为，正是这一点使他们能够发展并从不断发展的“文化”中学习。黑猩猩可以通过模仿学习在本能行为框架之外做出非常简单的步骤（例如当它们学会使用棍子作为“工具”从巢穴中取出白蚁时）；而且，与其他动物一样，当它们在圈养中接受人类训练以执行非本能行为时，这种能力会变得更加明显。但是，由于它们的模仿只是基于外部模仿，而不是基于移情理解，动物很快就会失去这些习得的属性，并且无法发展出“文化”。托马塞洛将人类这种独特的能力描述为建立在前几代人存储和传播的经验基础上的“棘轮”，使文化进化成为可能。但是，由于没有考虑到人类自我造成的特殊问题，他没有认识到，随着每一次新的“文化进步”的推进，智人远离自然和本能框架，我们通常所说的“文化”的很大一部分实际上包含了将自我意识与该框架所代表的目的统一重新联系起来的象征性尝试。没有什么比我们想象故事的冲动更生动地反映了这一点。根据托马塞洛的论文，故事当然是基于我们与其他人类产生共鸣的能力（也许比人类想象力的任何其他表达方式都更生动）。但同样他们也表明，他们真正的象征目的是克服利己主义造成的问题；并展示主观自我如何与心灵的“客观”水平相调和，从而以同理心将人类与外部世界联系起来，赋予他们最深的稳定感和认同感。
3. Various attempts have been made in recent years to provide a scientific definition of the difference between human consciousness and that of other animals. A fundamental flaw in all of them lies in their failure to take account of the consequences arising from the split between ego and instinct. Michael Tomasello, for instance, in The Cultural Origins of Human Cognition (Harvard University Press, 2000), bases his theory on observing the learning processes of apes and human children. He suggests that what makes humans unique is their capacity for empathetic imitation of each other. It is this, he suggests, which enables them to develop and to learn from a continuously evolving ‘culture’. Chimpanzees can learn by imitation to make very simple steps outside the frame of instinctive behaviour (as when they learn to use sticks as ‘tools’ to extract termites from their nests); and, as with other animals, this ability becomes more pronounced when, in captivity, they are trained by human beings to perform non-instinctive actions. But, because their imitation is only based on external imitation and not on empathetic understanding, animals can quickly lose these learned attributes, and cannot develop a ‘culture’. Tomasello describes this unique human ability to build on the stored and transmitted experience of previous generations as the ‘ratchet’ which makes cultural evolution possible. But, in not allowing for the peculiar problems created by the human ego, he fails to recognise that, as each new ‘cultural advance’ takes Homo sapiens further away from nature and the instinctive frame, a large part of what we generally call ‘culture’ in fact consists of symbolic attempts to reconnect ego-consciousness with the unity of purpose represented by that frame. Nothing reflects this more vividly than our compulsion to imagine stories. In accordance with Tomasello’s thesis, stories are certainly based on our capacity to empathise with other human beings (perhaps more graphically than any other expression of the human imagination). But equally they demonstrate that their real symbolic purpose is to overcome the problems created by egotism; and to show how the subjective ego can be reconciled with that ‘objective’ level of the psyche which empathetically connects human beings with the world outside them, giving them their deepest sense of stability and identity.
4 . 因此，讽刺的是，当人类表现得特别恶劣和自私时，他们就会被比作“动物”。他们被描述为行为像“野兽”（或者更具体地说像“猪”、“猴子”、“驴”等），而正是他们身上特有的人类而不是动物的部分导致他们表现出这样的“行为”。 “不人道”（即太人性化）的时尚。
4. Hence the irony by which, when human beings behave particularly badly and selfishly, they are likened to ‘animals’. They are described as behaving like ‘brutes’ (or more specifically like ‘pigs’, ‘monkeys’, ‘asses’, etc) when it is precisely the peculiarly human rather than animal part of them which lead them to behave in such an ‘inhuman’ (i.e., all too human) fashion.
5。这是荣格最有价值的见解之一，导致了他的“心理类型”理论，即意识以四种基本方式运作：通过他所谓的“感觉”、“思考”、“感觉”和直觉功能。他指出，大多数人主要通过一种“高级”功能与世界建立联系，而其他功能则尚未发展。因此，他将人分为“感觉类型”、“思维类型”等，并指出我们往往会因为自己的劣势功能而陷入与世界的关系中。但荣格并没有将他的观察发展到认识到，正如我们可以从讲故事中了解到的那样，这些功能中的前两个本质上具有“男性”方面，而另外两个本质上是“女性”。
5. It was one of Jung’s most valuable insights, leading to his theory of ‘psychological types’, that consciousness operates in these four basic ways: through what he called the ‘sensation’, ‘thinking’, ‘feeling’ and intuitive’ functions. He noted that most people primarily relate to the world through one, their ‘superior’ function, while remaining less developed in others. Thus he came to categorise people as ‘sensation types’, ‘thinking types’, and so forth, noting also that we tend to get caught out in our relationship to the world by those functions in which we are inferior. But Jung did not develop his observations to the point of recognising, as we can learn from storytelling, how the first two of these functions have an essentially ‘masculine’ aspect while the other two are essentially ‘feminine’. This helps to illuminate both how they can get out of balance with each other and also what is needed for them to brought into that state of balance which allows them to operate effectively.
6。过度依赖思维功能的问题在于其倾向于所谓的“认知失调”：构建理性模式的能力，这些模式本身看起来有序且合乎逻辑，但与现实的复杂性并不相符。科学家，就像官僚或政治家（或者实际上我们任何人）一样，可能会创建一个模型来解释或复制某些现象的运作方式，但这是基于未能理解其所涉及的所有微妙之处。在试图理解世界的过程中，自我意识不可避免地倾向于过于简单化或过于复杂化。解决这个问题的唯一补救办法在于直觉能力的力量，以看到“更广阔的图景”：模型遗漏或未能考虑到的内容。这就是希腊神话中忒修斯需要阿里阿德涅的线来帮助他逃离迷宫的象征。事实上，思维功能发达的人往往直觉功能发育较差。因此，我们的世界中存在着大量有缺陷的科学模型、疯狂的官僚机构、疯狂的政治阴谋和其他版本的迷宫，所有这些都是思维功能与直觉、感觉和实践感分离的结果。
6. The problem with over-reliance on the thinking function is its tendency to what is known as ‘cognitive dissonance’: the ability to construct rational patterns which may in themselves seem orderly and logical but which do not correspond to the complexities of reality. The scientist, like the bureaucrat or the politician (or indeed any of us), may create a model to explain or replicate the workings of some phenomenon, but which is based on a failure to appreciate all the subtleties of what it involves. In trying to understand the world, ego-consciousness inevitably tends either to over-simplify or to over-complicate. The only remedy to this lies in the power of the intuitive faculty to see ‘the wider picture’: what the model has missed out or failed to take account of. This is what was symbolised in Greek mythology by Theseus’s need for Ariadne’s thread to allow him to escape from the Labyrinth. In reality someone whose thinking function is strongly developed often has a poorly developed intuitive function. Hence the hyper-abundance in our world of flawed scientific models, mad bureaucracy, crackpot political schemes and other versions of the Labyrinth, all of which result from the thinking function becoming split off from intuition, feeling and a sense of the practical.
7 . 这就是《魔笛》如此富有想象力地传达的人类生活的两部分模式。在故事的前半部分，我们看到年轻的塔米诺在他的“母亲形象”夜女王的指导下成长，夜女王代表了大自然的本能力量。但接下来的重点转移是，完成他的成熟过程并赢得与他的阿尼玛帕米娜的结合，他必须背弃无意识的本能，并服从萨拉斯特罗同样仁慈的指导。这位侍奉智慧女神的祭司“父亲形象”代表了塔米诺完成“人生后半段”任务所需的一切。为了达到有意识的自我理解，他必须发展理性、纪律和自我控制的男性力量，这使他最终能够与阿尼玛完全结合。和自我。这样他就达到了笛子神奇力量所象征的目的。塔米诺和帕米娜经历最后的“磨难”的场景，包括需要在火和水的对立面之间穿行，让人想起《探索》。我们知道，如果他们通过这些测试，他们就会达到目标。在这一点上，我们看到以夜女王和莫诺斯塔托斯为代表的无意识自然力量被推翻了。塔米诺已经完成了从受本能支配的无意识状态（故事开始时）到完全实现意识的最终状态的转变。
7. This is the two-part pattern to human life which is so imaginatively conveyed in The Magic Flute. In the first half of the story, we see young Tamino growing up under the guidance of his ‘mother figure’, the Queen of the Night, representing the instinctive forces of Mother Nature. But then comes the central shift of emphasis where, to complete his maturing process and win union with Pamina, his anima, he must turn his back on unconscious instinct and submit to the equally benign guidance of Sarastro. This priestly ‘father figure’, serving the goddess of wisdom, represents that which is needed for Tamino to complete the tasks of the ‘second half of life’. To reach conscious Self-understanding he must develop the masculine strengths of reason, discipline and self-control which enable him in the end to reach full union with the anima and the Self. He thus achieves the purpose symbolised by the magical powers of the flute. The scenes where Tamino and Pamina undergo their final ‘ordeals’, including the need to pass between the opposites of fire and water, are reminiscent of the Quest. We know that if they pass these tests they will reach the goal. At this point we see the forces of unconscious nature, represented by the Queen of the Night and Monostatos, being overthrown. Tamino has completed the transition from the state of unconsciousness, governed by instinct, in which he began the story, to his final state of fully-realised consciousness.
8 . 例如，《天路历程》中的奥德修斯、埃涅阿斯、克里斯蒂安（甚至《巴巴尔》和《圣诞老人》中的巴巴尔）。与《克服怪物》的故事一样，但其他情节则不同，任务的中心人物几乎都是男性，是英雄而不是女英雄，因为他代表了意识的“男性气质”，需要与男性结合才能找到其最终的实现。 “女性”无意识。
8. E.g., Odysseus, Aeneas, Christian in Pilgrim’s Progress (even Babar in Babar and Father Christmas). As in Overcoming the Monster stories, but not the other plots, the central figure of a Quest is almost exclusively male, a hero rather than a heroine, because he represents the ‘masculinity’ of consciousness which needs to find its ultimate fulfilment in union with the ‘feminine’ unconscious.
9 . 在它上面，由三法则决定，是古典建筑中最熟悉的符号：三角形的石头山形墙，其中底座两端的两个角度形成了它们上面的第三个点，形成一个完美的、超然的。所有的。
9. Above it, determined by the Rule of Three, was the most familiar symbol in classical architecture: that triangular pediment of stone in which the two angles at each end of the base give rise to the third point above them, to make a perfect, transcendent whole.
1 . 该草图由芝加哥第二城市歌舞团的作者 Bill Alton、Del Close 和 Mina Kolb 于 1962 年秋天在伦敦的机构俱乐部表演。编辑后的版本发表在《Private Eye》杂志上， 14 1962 年 12 月。
1. This sketch was performed by its authors, Bill Alton, Del Close and Mina Kolb of the Second City revue company from Chicago, at the Establishment Club, London, in the autumn of 1962. An edited version was published in the magazine Private Eye, 14 December 1962.
2 . 当然，我们在这种情况下使用术语“右”和“左”这一事实本身就很重要。正如右撇子在人类中被认为是“正常”的一样，右撇子也与统治秩序相关，是“正确的”而不是错误的，处于法律的“正确”一边。左撇子被视为“异常”，而“左”，正如我们之前所见，与“线下”属性相关联，如俄语na levo中的“在左边”。
2. The very fact that we use the terms ‘right’ and ‘left’ in this context is itself, of course, significant. Just as right-handedness is considered ‘normal’ in human beings, so right-sidedness is associated with the ruling order, being ‘right’ rather than wrong, being on the ‘right’ side of the law. Left-handedness is looked on as ‘abnormal’ and the ‘left’, as we have seen before, is associated with ‘below the line’ attributes, as in the Russian na levo, ‘on the left’.
3 . 政治背后的原型也与我们感知颜色象征意义的方式的原型基础有关。典型的红色与色谱中女性、无意识的一端相关，而有意识的、男性的价值观与相反的蓝色一端相关。因此，左翼政治团体在历史上联合起来，用红色（共产主义、红旗）宣传“母亲”的价值观，而右翼政治团体则用蓝色代表“父亲”的价值观（例如，英国国旗）。保守党）。当我们在故事中发现红色时，它通常与“黑暗母亲”联系在一起（例如，三个火枪手中的德温特女士），卡罗尔的爱丽丝故事中的红桃皇后和红心皇后）。光谱中心的绿色代表男性和女性之间无差异的本能平衡（就像自然界一样）。最有意识、完全不同的男性和女性属性的婚姻将紫色光谱的两端统一起来：因此这种颜色与皇室和自我联系在一起。白色作为所有颜色的混合体，当然与光明、纯洁和纯真联系在一起，而黑色，没有颜色，与黑暗、无知和邪恶联系在一起。
3. The archetypes underlying politics relate also to the archetypal basis for the way we perceive the symbolism of colour. Archetypally red relates to the female, unconscious end of the colour spectrum, while conscious, masculine values are associated with the opposite blue end. Hence the historical association of left-wing political groups, promoting the values of ‘Mother’, with red (Communism, the Red Flag) and that of right-wing groups, representing the values of ‘Father’, with blue (e.g. the British Conservative Party). Where we find red in stories it is often associated with the ‘Dark Mother’ (e.g., Lady de Winter in The Three Musketeers, the Red Queen and the Queen of Hearts in Carroll’s Alice stories). Green at the centre of the spectrum represents the un-differentiated, instinctive balance of masculine and feminine (as in nature). The most consciously, fully differentiated marriage of masculine and feminine attributes unites the two ends of the spectrum in purple: hence the association of this colour with royalty and the Self. White, as a blend of all the colours, is of course associated with light, purity and innocence, and black, the absence of colour, with darkness, ignorance and evil.
4 . 在最近的英国政治史上，这种模式导致了约翰·普罗富莫、约翰·斯通豪斯、杰里米·索普、杰弗里·阿彻、彼得·曼德尔森、斯蒂芬·拜尔斯等许多人的辞职或耻辱。类似的例子在世界各地的政治生活中都可以找到。
4. In recent British political history, this was the pattern which, for instance, accounted for the resignations or disgrace of John Profumo, John Stonehouse, Jeremy Thorpe, Jeffrey Archer, Peter Mandelson, Stephen Byers and many others. Similar examples can be found in political life all over the world.
5。即使在和平的民主国家中，这种幻想与幻灭的交替也代表着政治生活的模式，但暴力程度要小得多。几乎每一位成功的政治领导人都有一个“保质期”，最初他或她会受到尊重，并且似乎代表了国家所需的品质。但最终，那些曾经看似令人钦佩的品质却暴露了其阴暗的一面，并被视为可耻的。同样的转变也适用于政党的受欢迎程度。一个政党可能会成功地长期执政，但最终它会显得疲倦，不再有能力有效执政，也不再能够与使其掌权的社会力量保持联系。这有助于产生一种乐观情绪，认为其主要竞争对手的政党可以组建一个截然不同的新政府：充满活力、高效、诚信，更符合国家的需要。它的当选被誉为标志着一个更有希望的新时代的开始。在一段时间内，新的改革政府可能会享受一个梦想舞台，尽管它看起来不会犯错。但它逐渐进入挫折阶段，错误和缺陷似乎成倍增加。最后，当整个国家的情绪不可逆转地转向对它不利的时候，它就进入了噩梦阶段，它什么都做不了；当然，到目前为止，人们所熟悉的乐观势头正在其反对者周围积聚起来，直到他们能够横扫权力的那一刻为止。如此，幻觉与幻灭的循环又开始了。在一段时间内，新的改革政府可能会享受一个梦想舞台，尽管它看起来不会犯错。但它逐渐进入挫折阶段，错误和缺陷似乎成倍增加。最后，当整个国家的情绪不可逆转地转向对它不利的时候，它就进入了噩梦阶段，它什么都做不了；当然，到目前为止，人们所熟悉的乐观势头正在其反对者周围积聚起来，直到他们能够横扫权力的那一刻为止。如此，幻觉与幻灭的循环又开始了。在一段时间内，新的改革政府可能会享受一个梦想舞台，尽管它看起来不会犯错。但它逐渐进入挫折阶段，错误和缺陷似乎成倍增加。最后，当整个国家的情绪不可逆转地转向对它不利的时候，它就进入了噩梦阶段，它什么都做不了；当然，到目前为止，人们所熟悉的乐观势头正在其反对者周围积聚起来，直到他们能够横扫权力的那一刻为止。如此，幻觉与幻灭的循环又开始了。对手周围熟悉的乐观势头正在增强，直到他们能够横扫权力的那一刻。如此，幻觉与幻灭的循环又开始了。对手周围熟悉的乐观势头正在增强，直到他们能够横扫权力的那一刻。如此，幻觉与幻灭的循环又开始了。
5. To a much less violent degree, this alternation of illusion and disillusion typifies the pattern of political life even in a peaceful democracy. Almost every successful political leader has a ‘shelf life’, whereby initially he or she commands respect and seems to represent the qualities the country needs. But eventually the very qualities which once seemed so admirable show their shadowy underside and come to be viewed as discreditable. The same kind of switch into its opposite applies to the popularity of political parties. A party may successfully hold sway for a long period, but eventually it seems tired, no longer capable of governing effectively or in touch with the social forces which put it in power. This helps to generate a sense of optimism that the party which is its main rival can provide a new government which is quite different: energetic, efficient, honest, more in tune with the country’s needs. Its election to power is hailed as marking the start of a new, more hopeful era. For a while the new reforming government may enjoy a Dream Stage, when it seems it can do no wrong. But it gradually moves into a Frustration Stage, when its errors and deficiencies seem to multiply. Finally, as the mood of the country shifts irreversibly against it, it enters a Nightmare Stage where it can do nothing right; and by now, of course, the familiar momentum of optimism is building up around its opponents until the moment when they can sweep into power. Thus does the cycle of illusion and disillusion begin again.
6 . 纳粹如此引人注目地代表了“怪物”的典型形象，以至于他们几十年来在各种故事讲述中继续扮演着这个角色。半个世纪后，他们仍然为史蒂文·斯皮尔伯格 (Steven Spielberg) 的两部 90 年代最成功的电影《拯救大兵瑞恩》 (1997) 和《辛德勒的名单》(1993) 提供了灵感。《辛德勒的名单》根据托马斯·肯尼利于 20 世纪 80 年代改编成的小说改编自现实生活中的战时插曲从情节上来说，是《重生》和《惊心动魄的死里逃生》的结合。主人公奥斯卡·辛德勒是一位不道德的商人，他在被占领的波兰讨好纳粹分子，招募被剥夺财产的犹太人作为廉价劳动力，帮助他建立利润丰厚的制造业。随着对犹太人的迫害变得越来越残酷，辛德勒开始发展出“光明”的品质，这与他从集中营中抽调一些劳动力的可怕的指挥官形成鲜明对比。在故事的高潮处，辛德勒冒着生命危险，将数百名犹太人从毒气室中拯救出来，并将他们偷渡到他捷克家乡的一家新工厂。在这里他们得知战争已经结束。辛德勒失踪了。影片以几十年后辛德勒死后在耶路撒冷举行的仪式结束，他的尸体被重新埋葬在犹太墓地。
6. So compellingly did the Nazis represent the archetypal image of the ‘monster’ that they would continue to play this role in storytelling of all kinds for decades. Even half a century later, they helped inspire two of Steven Spielberg’s most successful films of the 1990s, Saving Private Ryan (1997) and Schindler’s List (1993). Loosely adapted from a real-life wartime episode, turned into a novel in the 1980s by Thomas Kenneally, Schindler’s List was in plot terms a combination of Rebirth and Thrilling Escape From Death. The hero, Oskar Schindler, was an amoral businessman who, by currying favour with the Nazis in occupied Poland, recruited dispossessed Jews as cheap labour to help him build up a lucrative manufacturing business. As persecution of the Jews becomes ever more ruthless, Schindler begins to develop ‘light’ qualities, in contrast to the monstrous commandant of a concentration camp from which he draws some of his workforce. At the story’s climax, Schindler risks his own life in saving hundreds of Jews from the gas-chambers, by smuggling them to a new factory in his Czech home town. Here they learn the war is over. Schindler disappears. The film ends with a ceremony in Jerusalem decades later, after Schindler’s death, when his body has been reburied in a Jewish cemetery. Survivors and their families meet to honour his memory as ‘a just gentile’.
7 . 1991 年 1 月，第一次海湾战争开始时，作为一名记者，我注意到盟军穿越半个地球与萨达姆·侯赛因对峙的景象如何与世界上最古老的有记录的故事（《波斯史诗》中的情节）产生了奇怪的共鸣。吉尔伽美什，英雄们出发前往世界各地对抗可怕的巨人洪巴巴。这个古老的故事当然起源于美索不达米亚，即现在的伊拉克。十二年后，即 2003 年，原型模式不完整的感觉似乎很可能在促使小乔治·布什入侵伊拉克、完成他父亲未完成的事业中发挥了重要作用。
7. In January 1991, as the first Gulf War began, I noted as a journalist how the spectacle of allied forces travelling across half the world to confront Saddam Hussein provided a curious echo of the oldest recorded story in the world, the episode in the Epic of Gilgamesh when the heroes set out across the world to confront the monstrous giant Humbaba. It was of course from Mesopotamia, now Iraq, that this ancient story originated. Twelve years later, in 2003, it seemed very possible that the sense of an archetypal pattern having been left incomplete played a significant part in prompting George Bush Jr to invade Iraq, to complete the business left unfinished by his father.
8 . 这就是汉斯·克里斯蒂安·安徒生的寓言《皇帝的新衣》中令人难忘的要点。“统治意识”很高兴地同意皇帝穿着华丽的衣服。只有人群中不受集体意识影响的小男孩指出他赤身裸体。孩子，“线下”，代表着永远正确的少数人。
8. This was the point so memorably crystallised in Hans Christian Andersen’s fable The Emperor’s New Clothes. The ‘ruling consciousness’ is happy to agree that the Emperor is dressed in magnificent clothes. Only the small boy in the crowd, not affected by the collective consciousness, points out that he is naked. The child, ‘below the line’, represents that minority which is always right.
1 . Reznikoff, Iegor 和 Dauvois, Michel (1988)，法国史前社会公报(85,238-246)。他们的发现随后被其他洞穴群的研究所证实（参见Devereux, Paul, and Richardson, Tony (2001), Stone Age Soundtracks: The Acoustic Archeology ofAncient Sites , (Vega)）。
1. Reznikoff, Iegor, and Dauvois, Michel (1988), Bulletin de la Societe Prehistorique Francaise (85,238-246). Their discovery was subsequently confirmed by study of other cave complexes (cf. Devereux, Paul, and Richardson, Tony (2001), Stone Age Soundtracks: The Acoustic Archaeology of Ancient Sites, (Vega)).
2 . 尽管长期以来人们一直认为巨石阵的主要排列是在夏至太阳升起的时候（因此那些熟悉的德鲁伊和“嬉皮士”在仲夏早晨的聚会），但这一假设最近受到了约翰教授的研究的巨大挑战。北（记录于巨石阵：新石器时代的人类与宇宙，哈珀柯林斯出版社，伦敦，1997 年）。这些令人信服地表明，石头的排列并不对应于夏至，而是更准确地对应于一年中最短的一天的太阳落山。因此，对于新石器时代的建筑师来说，巨石阵的目的是提供他们自己的与所有熟悉的原型节日相同的节日，例如罗马农神节和我们自己的圣诞节，这些节日庆祝自然“死亡和重生”的一年中的最低点。
2. Although it was long supposed that the chief alignment of Stonehenge was with the rising of the sun at the summer solstice (hence those familiar Druidical and ‘hippy’ gatherings on midsummer morning), this assumption has lately been dramatically challenged by the studies of Professor John North (recorded in Stonehenge: Neolithic Man And The Cosmos, HarperCollins, London, 1997). These convincingly show that the alignment of the stones corresponds not to the summer solstice but much more precisely to the setting of the sun on the year’s shortest day. Thus, for its Neolithic architects, the purpose of Stonehenge was to provide their own equivalent of all those familiar archetypal festivals, such as the Roman Saturnalia and our own Christmas, which celebrate that lowest point of the year when nature ‘dies and is reborn’.
3 . 参见《伟大的母亲：原型分析》， Erich Neumann 着（Routledge 和 Kegan Paul，伦敦，1955 年），特别是关于“原始女神”的章节。
3. See The Great Mother: An Analysis of the Archetype by Erich Neumann (Routledge and Kegan Paul, London, 1955), particularly the chapter on ‘The Primordial Goddess’.
4。美索不达米亚第一座城市的苏美尔建造者首先为离地球最近的五个行星命名了他们的神的名字。这些后来被翻译成对应的希腊语和罗马语，我们至今仍然使用它们的名字：水星、金星、火星、木星和土星。美索不达米亚人特别相信天体的运行和地球上的事件之间存在着密切的联系，行星、恒星、彗星、太阳和月亮所体现的精神不仅可以影响地球上的事件，而且可以预言地球上将要发生的事情。未来。正是他们将天空划分为黄道带的 12 个星座，从而建立了黄道带和占星术之间的联系，这种联系至今仍在流行的民间传说中存在。
4. It was the Sumerian builders of the first cities in Mesopotamia who first gave the names of their gods to the five planets nearest to earth. These were later translated into their Greek and Roman equivalents with the names we still give them today: Mercury, Venus, Mars, Jupiter and Saturn. The Mesopotamians particularly believed there was an intimate connection between the dispositions of heavenly bodies and events on earth, and that the spirits embodied in planets, stars, comets, sun and moon could not only influence earthly events but foretell what was going to happen in the future. It was they who divided the sky into the 12 signs of the Zodiac, thus establishing that link between the Zodiac and astrology which persists in popular folklore to this day. So preoccupied were they with astronomical observation that it was they who divided the lunar month into four weeks of seven days, each day into 24 hours of 60 minutes, and the circumference of the horizon (or a circle) into 360 degrees.
5 . 在人类发展的这个阶段，精神力量和世俗力量的运用仍然是紧密相连的。我们从希罗多德和其他作者那里得知，金字形神塔的一个仪式目的是让祭司国王能够在塔顶进行神圣的性交，或者让女祭司进行同样的事情。这就是hieros gamos或“神圣婚姻”，象征着天与地、男性与女性、意识与潜意识的团聚。
5. At this stage of human development, the exercise of spiritual and secular power was still very much conjoined. One ritual purpose of the ziggurats, we know from Herodotus and other authors, was to enable a priest-king to engage in sacred sexual intercourse on the top, or a priestess to enact the same. This was the hieros gamos or ‘holy marriage’, symbolising the reunion of heaven and earth, masculine and feminine, consciousness and the unconscious.
6 . 即使在二十世纪末，电视上还可以拍摄一位年长的卡拉哈里布须曼人来解释仪式舞蹈对他的人民如何如此重要，因为“我们的舞蹈让祖先快乐，这反过来又让上帝快乐”。因此，我们的舞蹈在我们、我们的祖先和我们的上帝之间建立了联系。” （Roy Sesana，拍摄于 1997 年，2002 年作为詹姆斯·史密斯为 BBC 制作的布须曼人的最后之舞的一部分放映）。
6. Even at the end of the twentieth century an old Kalahari bushman could be filmed for television explaining how ritual dance was so important to his people because ‘our dancing makes the ancestors happy, which in turn makes God happy. So our dancing makes a link between us, our ancestors and our God’. (Roy Sesana, filmed in 1997, shown in 2002 as part of The Last Dance of the Bushmen, made for the BBC by James Smith).
7 . 阿波罗也是音乐之神，它将生命能量、情感与秩序结合在一起。治愈、恢复身体健康或“完整”；预言和神谕是理性意识从非理性“地下世界”预测未来将要发生的事情的手段。
7. Apollo was also god of music, which unites life-energy and emotion with order; of healing, the restoration to physical health or ‘wholeness’; and of prophecy and oracles, the means whereby rational consciousness can divine from the irrational ‘underworld’ what is to happen in the future.
8 . 这是一个例子，说明有时只能通过上下文来理解象征意义。波吕斐摩斯在奥德修斯将一根烧红的木桩塞入他的独眼后失明，与俄狄浦斯自残失明的相反，当时俄狄浦斯挖出了自己的眼睛。俄狄浦斯外在的盲目反映了他内在洞察力的实现，与智慧的忒瑞西阿斯的盲目相似。波吕斐摩斯的失明只是为了证实他在被奥德修斯智取时已经表现出的缺乏视力。
8. This is an example of how the meaning of symbolism can sometimes be interpreted only by seeing it in context. The blindness of Polyphemus, after Odysseus has rammed a red-hot stake into his single eye, stands for the opposite of the self-inflicted blindness of Oedipus, when he gouges out his own eyes. Oedipus’s outer blindness reflects his attainment of inner vision, in parallel to the blindness of the wise Teiresias. Polyphemus’s blindness acts merely to confirm the lack of vision he has already shown in being outwitted by Odysseus.
9 . 通过这种方式，赫耳墨斯代表了直觉的行为或过程，直觉的“闪光”让意识瞥见了无意识的东西（正是这种“水银”特性导致罗马人用他们的名字来描述金属汞）。但他并没有代表直觉与无意识的联系可以带来的那种更深层次的理解。这是为智慧女神雅典娜保留的。这就是为什么他们两个可以出现在同一个故事中，就像他们对珀尔修斯和奥德修斯所做的那样，因为他们所代表的东西有微妙的不同。
9. In this way Hermes represented the act or process of intuition, the intuitive ‘flash’ which gives consciousness a glimpse of that which has been unconscious (it was this ‘quicksilver’ property which led the Romans to use their version of his name to describe the metal Mercury). But he did not represent that deeper state of understanding which the intuitive link with the unconscious can lead to. This was reserved for Athene in her role as goddess of wisdom. This is why both of them can appear in the same story, as they do to Perseus and Odysseus, because what they stand for is subtly different.
10 . 我们最常看到的黑暗、消极方面的两位神是赫拉和波塞冬，这并非偶然，因为他们代表了那些关键的原型人物，即“黑暗母亲”和“黑暗父亲”。当然，每个人也可以以光明的一面出现：赫拉，扮演慈爱的妻子和母亲的积极角色；波塞冬，当我们看到他作为海神的“线上”角色时，仁慈地主持着“平静的海洋和繁荣的航行”。只有当他承担起“水面以下”的角色时，我们才会将他视为愤怒的“黑暗之父”，无论他是在海上制造风暴还是创造怪物。
10. It is no accident that the two gods we see most often in their dark, negative aspects are Hera and Poseidon, because they then represent those key archetypal figures, the ‘Dark Mother’ and the ‘Dark Father’. But of course each can also appear in a light aspect: Hera when she plays a positive role as loving wife and mother; Poseidon when we see him in his ‘above the line’ role as sea god, benignly presiding over ‘calm seas and prosperous voyages’. It is only when he assumes his ‘below the surface’ role that we see him as the angry ‘Dark Father’, whether he is sending storms at sea or creating monsters.
11 . 尽管他也是三位一体，至尊三合会的一部分。这其中包括了他的前任太初天师，以及有朝一日继承他的金门玉曙天师，所以三神分别代表了过去、现在和未来。
11. Although even he was part of a trinity, the Supreme Triad. This included his predecessor, the Heavenly Master of the First Origin, and the Heavenly Master of the Dawn of Jade of the Golden Door who would one day succeed him, so that the three gods represented past, present and future.
12 . 作为人类意识进化这一新阶段的体现，东西方之间的相似之处尤其引人注目，因为它们在文化上完全独立。公元前500 年左右生活在小亚细亚的赫拉克利特，有一个至高无上的统一体，即“一”，他也称之为“上帝”，但它是由所有对立面和解而成的。“万物生于一，一生于万物。” 只有“唯一”才是最终真实的。它所产生的所有对立或单独的存在形式从定义上来说都不那么真实：就像在同一时期的印度，印度教徒开始将玛雅世界视为幻觉，受对立面相互作用的支配。几乎在同一时间，在中国，老子也以类似的方式写道：“万物唯一而生”。“天下万物，生于有，有生于无”，“道生一，一生二，二生三；道生一，一生二，二生三；道生一，一生二，二生三”。三生万物”。对映体，即创造世界中的一切事物都有一种“走向相反面”的倾向。两千多年后，黑格尔将这种模式称为“辩证法”，即“正题”产生“对立”，“对立”又导致“综合”。但从这种模式在讲故事中出现的方式来看，我们可以看到，这是人类无意识对自我意识与生俱来的反应的原型反应，自我意识以对立面来感知世界，在找到平衡点之前不可避免地会在极端之间摇摆。 。
12. As an expression of this new phase in the evolution of human consciousness, the parallels between east and west are particularly striking since culturally they were wholly independent of each other. To Heraclitus, living in Asia Minor around 500 BC, there was a supreme unity, the One, which he also called ‘God’, but made up from the reconciliation of all opposites. ‘All things emerge from the One and the One emerges out of all things.’ Only ‘the One’ is ultimately real. All oppositions or separate forms of existence to which it gives rise are by definition less real: just as in India at the same time the Hindus were coming to see the world of maya, governed by the interplay of opposites, as illusion. At much the same time, in China, Lao Tzu was writing in similar vein that ‘the myriad creatures are only alive by virtue of the One’; ‘all the myriad creatures in the world are born from Something, and Something from Nothing’, and ‘the Tao begets One, one begets two, two begets three; three begets all the myriad creatures’. Lao Tzu also observed the tendency of all imbalances to produce a contrary impulse which eventually leads to an imbalance in the opposite direction, echoing Heraclitus’s law of enantiodromia, whereby everything in the created world has a tendency to ‘run about into its opposite’. This is the pattern which two thousand years later Hegel was to identify as the ‘dialectic’, whereby ‘thesis’ produces ‘antithesis’ which leads to ‘synthesis’. But from the way in which this pattern appears in storytelling we can see it is an archetypal response by the human unconscious to that innate tendency of ego-consciousness to perceive the world in terms of opposites which inevitably swing between extremes before finding a point of balance.
13 . 女性的典型角色在这个故事中仍然残留，在“妓女喇合”扮演的角色中，作为帮助以色列人实现目标的象征性人物。当以色列人围攻耶利哥城时，她背叛了自己的人民，从城墙上放下一根绳子来帮助他们。但喇合以一种非常“低等”的姿态代表了女性。她扮演的叛徒妓女角色很难与希腊神话中雅典娜或阿里阿德涅等人物所扮演的鼓舞人心的核心角色相提并论。她在故事中所扮演的角色对于故事的结果甚至并不重要。约书亚的追随者赢得胜利的不是她的背叛，而是吹倒城墙的号角声。
13. The archetypal role of the feminine remains vestigially present in this story, in the part played, as a symbolic figure helping the Israelites on towards their goal, by ‘Rahab the harlot’. Betraying her own people, she assists the Israelites when they are besieging the city of Jericho, by letting down a rope from its walls. But Rahab represents the feminine in very much an ‘inferior’ guise. Her walk-on part as a traitrous prostitute hardly equates to the inspiring central roles played in Greek myth by figures such as Athene or Ariadne; and her part in the story is not even crucial to its outcome. What wins the victory for Joshua’s followers is not her betrayal but the trumpet blast which brings down the city walls.
14 . 女性的价值在《智慧之书》、《箴言》和《传道书》中也得到了积极的体现。《箴言》的前九卷采取了“智慧赞歌”的形式，智慧化身为女性，如希腊的索菲亚或雅典娜。这本书还包含了赞美完美妻子的著名段落，她的“价格高于红宝石”。
14. The feminine value is also presented positively in the ‘books of wisdom’, Proverbs and Ecclesiastes. The first nine books of Proverbs take the form of a ‘hymn to Wisdom’ who is personified in anima-guise as a woman, like the Greek Sophia or Athene. This book also contains the famous passage in praise of the perfect wife, whose ‘price is above rubies’.
15 . 当然，后来撒旦也被认为是在伊甸园里诱惑夏娃的蛇，尽管在创世记的最初记载中，这个自我意识的化身没有被命名。
15. Satan also, of course, became later identified with the serpent which tempted Eve in the Garden of Eden, although in the original account in Genesis this personification of ego-consciousness is given no name.
16 . 正如福音书中所呈现的，耶稣故事的一个显着特征是它是如何始终如一地围绕“三法则”构建的。我们在玛利亚、约瑟夫和耶稣最初的三位一体中看到了这一点；三位智者；三种诱惑；他的三年教学生涯；三个十字架；他临死前三个小时的痛苦，第三天他的复活。四十天后，乘以四作为完成的数字，他升入天堂，成为三位一体的一部分。他在地上生活了 33 年，并选择了 12 名使徒的原型数字，将三乘以四。
16. A striking feature of the story of Jesus, as presented in the Gospels, is how consistently it is structured round the Rule of Three. We see this in the original triad of Mary, Joseph and Jesus; the three wise men; the three temptations; the three years of his teaching; the three crosses; the three hours of his death agony, his resurrection on the third day. After 40 days, a multiplication of four as the number of completion, he ascends into heaven, to become part of the Trinity. He lived on earth for 33 years, and chose the archetypal number of 12 apostles, multiplying three by four.
17 . 正是这一点首先产生了希腊语“悲剧”一词，
该词源自“山羊”。悲剧人物是“替罪羊”，他的死亡净化了社区的黑暗，使光明和完整得以恢复。
17. It was precisely this which first gave rise to the Greek word ‘tragedy’, derived from , a ‘goat’. The tragic figure is the ‘scapegoat’ whose death purges the community of darkness, so that light and wholeness can be restored.
18 . 作为“完整性”的四个角的神秘象征，有时代表罗盘的四个点，十字架以多种形式存在于世界各地的不同文化中。在基督之前的几千年里，它是埃及的神圣象征。对于阿兹特克人来说，它是羽蛇神的创造者、生命之主和四风之神的标志。一种广泛发现的古老形式是作为太阳象征的十字架，其手臂从四个点向后延伸，仿佛顺时针旋转。这在梵文中被称为sv-astika ，源自sv-asti，意为“幸福”。在古老的条顿宗教中，拖曳的手臂是相反的，因此它们看起来要么像是逆时针旋转，要么就像险恶的钩子。这是希特勒的纳粹分子所采用的形式，hakenkreuz或“钩状十字”因此颠倒了古代“幸福”的象征。
18. As a four-cornered mystical symbol of ‘wholeness’, sometimes representing the four points of the compass, the cross in numerous forms is found in different cultures all over the world. It was a holy symbol in Egypt millennia before Christ. To the Aztecs it was a sign of Quetzalcoatl the creator, master of life and god of the four winds. One ancient form, found widely, was the cross as a symbol of the sun, with arms trailing backwards from the four points as if it is revolving clockwise. This was known in Sanskrit as sv-astika from sv-asti, ‘well-being’. In the old Teutonic religion the trailing arms were reversed, so that they look either as if they are revolving anti-clockwise or are like menacing hooks. This was the form adopted by Hitler’s Nazis, whose hakenkreuz, or ‘hooked cross’ thus inverted the ancient symbol of ‘well-being’.
19。盎格鲁-撒克逊周的中心日是为日耳曼众神的首领沃登保留的。“沃登日”（星期三）的两侧是那些以代表男性价值观的神命名的节日：“蒂乌日”（星期二）以正义、法律和秩序之神命名，“托尔日”（星期四）以雷神命名。战斗和体力。两侧是献给女性神的日子，月亮女神（周一）和芙蕾雅（周五）纪念沃登的妻子，代表着爱、美丽、婚姻和照顾病人的女性特质。一周以“苏尔图尔日”结束，苏尔图尔日以这位神命名，他和罗马的土星一样，主持着结束和开始之间的过渡（这就是罗马节日冬至的原因，标志着从旧的一年到新的一年的过渡）新的，是农神节）。Gottderdammerung，世界末日）。因此，星期六标志着旧一周结束的时刻，随后“太阳”的复活标志着下一周的第一天（在俄语中，星期日仍被称为“复活日”）。这也与基督教的“复活节”联系在一起，这个节日标志着基督的复活，以太阳升起的地方命名：在东方，源自最初的梵文 usra，“黎明”（希腊人也从这个词衍生出“黎明”） “黎明”、“eos”，荷马所喜爱）。因此，基督就像太阳一样，是光的源头，在复活节周日早上死去然后复活（就像基督教教堂东西向排列，以便太阳从祭坛上升起一样）。
19. The central day of the Anglo-Saxon week was reserved for Woden, chief of the Germanic gods. ‘Woden’s day’ (Wednesday) is flanked by those named after gods representing the masculine values: ‘Tiw’s day’ (Tuesday) after the god of justice, law and order, and ‘Thor’s day’ (Thursday) after the god of thunder, battles and physical strength. On each side of them are days dedicated to female divinities, the Moon goddess (Monday) and Freya (Friday) commemorating the wife of Woden, representing the feminine attributes of love, beauty, marriage and care for the sick. The week ends on ‘Surtur’s day’, named after the god who, like his Roman equivalent Saturn, presided over the transition between endings and beginnings (which was why the Roman festival of the winter solstice, marking the transition from the old year to the new, was the Saturnalia). Surtur plays a similar role in Norse/Teutonic mythology (hence, as we shall see, the crucial part he plays in the events of Ragnarok/Gottderdammerung, the end of the world). Thus Saturday marks the moment when the old week ends, followed by the resurrection of the ‘Sun’ to mark the first day of the next (in Russian, Sunday is still named ‘resurrection day’). This also links up with the Christian ‘Easter’, the festival marking Christ’s resurrection, named after the place where the sun rises: in the east, from the original Sanskrit usra, ‘the dawn’ (from which the Greeks also derived their word for ‘dawn’, ‘eos’, beloved by Homer). Thus Christ, like the Sun, is the source of light which dies and is then resurrected, on Easter Sunday morning (just as Christian churches are aligned east-west, so that the sun rises over the altar).
20 . 这种通过一系列身体转世而“灵魂转世”的信仰也得到了西方一些人的认同，尤其是毕达哥拉斯的追随者，正如莎士比亚在《第十二夜》中讽刺地反映的那样：
20. This belief in the ‘transmigration of souls’ through a series of bodily incarnations was also shared by some in the west, most notably by the followers of Pythagoras, as Shakespeare quizzically reflected in Twelfth Night:
小丑：毕达哥拉斯对野禽有什么看法？
‘Clown: What is the opinion of Pythagoras concerning wild fowl?
马伏里奥：我们祖母的灵魂可能栖息在一只鸟身上。
Malvolio: That the soul of our grandam might haply inhabit a bird.
小丑：你觉得他的意见怎么样？
Clown: What thinkest thou of his opinion?
马伏里奥：我认为灵魂是高贵的，决不赞同他的观点。
Malvolio: I think nobly of the soul, and no way approve his opinion.’
21 . 人们渴望相信一位伟大的国家领导人有一天会回来在国家需要帮助的时候提供帮助，这背后有一种半典型的影响在起作用。这种信仰在历史上并不少见：腓特烈·巴巴罗萨、苏格兰的詹姆斯四世、葡萄牙的塞巴斯蒂安、俄罗斯的亚历山大一世和弗朗西斯·德雷克都是这些传说的激发者。
21. There is a semi-archetypal influence at work behind the desire to believe that a great national leader may one day return to assist his country in its hour of need. Such beliefs are not uncommon in history: Frederick Barbarossa, James IV of Scotland, Sebastian of Portugal, Alexander I of Russia and Francis Drake were among those who inspired such legends.
22 . 阿威罗伊（Averroes，1126-98），出生于西班牙的穆斯林学者和哲学家，是西方思想家中的佼佼者，他相信个体灵魂并不存在永生，而是每个人死后都会融合成一个永恒的整体。 。
22. Averroes (1126-98), the Moslem scholar and philosopher, born in Spain, was exceptional among Western thinkers in believing that there was no such thing as personal immortality for individual souls, but that each human being merges back after death into an eternal whole.
23 . 多恩，《世界解剖学》，一周年纪念日（1611 年）。
23. Donne, An Anatomy of the World, First Anniversary (1611).
24 . 正如威廉·黑兹利特所说：“莎士比亚思想的显着特点在于它的通用品质，它与所有其他思想沟通的能力，因此它内部包含了一个思想和情感的宇宙，并且没有比莎士比亚更特殊的偏见或独特的卓越之处。”其他。他就像其他人一样，但他也像所有其他人一样。他是最不以自我为中心的人。（关于莎士比亚和本·琼森）。
24. As William Hazlitt put it: ‘the striking peculiarity of Shakespeare’s mind was its generic quality, its power of communication with all other minds, so that it contained a universe of thought and feeling within itself, and had no particular bias or exclusive excellence more than another. He was just like any other man, but that he was like all other men. He was the least of an egotist that it was possible to be.’ (On Shakespeare and Ben Jonson).
25 . 由贝蒂娜·冯·布伦塔诺 (Bettina von Brentano) 在 1810 年 5 月写给歌德的信中记录。
25. Recorded by Bettina von Brentano in a letter to Goethe, May 1810.
26 . 正如托尔斯泰在《什么是艺术？》中所写，“在我们这个时代，只有两种艺术可以被认为是好的艺术……首先，艺术传递了对人类在世界上的地位、与上帝和邻居的关系的宗教感知的情感……” .. 其次，艺术传达了共同生活中最简单的感受，例如全世界所有人都能接触到的：共同生活的艺术，人民的艺术，普遍的艺术。
26. As Tolstoy wrote in What Is Art?, ‘Only two kinds of art can be considered good art in our time ... first, art transmitting feelings from a religious perception of man’s position in the world, in relation to God and his neighbour ... secondly, art transmitting the simplest feelings of common life, such as are accessible to all men throughout the world: the art of common life, the art of the people, universal art.’
27 . 《过去的时代的历史或故事》（Histoire ou Contes du Temps Passé）（1695）。
27. Histoire ou Contes du Temps Passé (1695).
28 . 肯·奥尔德（Ken Alder，2002）在《万物的衡量》一书中对自我意识的胜利进行了精彩的历史描述。他接着描述了 1801 年拿破仑如何颁布法令，要求全法国强制使用公制。但这导致了如此混乱，并且非常不受欢迎，以至于他于 1812 年允许法国人恢复其传统措施。法国政府直到 1840 年才重新实行公制。
28. A fascinating historical account of this triumph of ego-consciousness is given in The Measure of All Things by Ken Alder (2002). He goes on to describe how in 1801 Napoleon decreed that exclusive use of the metric system should be compulsory throughout France. But this led to such chaos and proved so unpopular that in 1812 he allowed the French to return to their traditional measures. The French government only reimposed the metric system in 1840.
29 . 《抒情歌谣》第二版序言（1800 年）。
29. Preface to second edition of Lyrical Ballads (1800).
1 . 洛基扮演他熟悉的角色的一集来自《散文埃达》，以洛基从矮人安德瓦里偷来的一枚戒指为中心。像往常一样，洛基杀死了赫里德玛的一个儿子，给众神带来了麻烦，并偷走了戒指以平息赫里德玛的愤怒。但安德瓦里对任何拥有这枚戒指的人下了诅咒，这导致赫里德玛剩下的两个儿子之一法夫尼尔杀死了他的兄弟并变成了怪物。法夫纳最终被沃尔松格的西格德杀死，从而引发了瓦格纳的《尼伯龙根指环》以及托尔金的《指环王》的灵感来源的传奇故事。因此，象征自我力量的被诅咒的戒指的形象应该起源于洛基。
1. One episode in which Loki plays his familiar role is that from the Prose Edda centred on a ring stolen by Loki from Andvari the dwarf. As usual, Loki has got the gods into trouble, by killing one of the sons of Hreidmar, and steals the ring to buy off Hreidmar’s wrath. But Andvari places a curse on anyone who owns the ring, and this leads to one of Hreidmar’s two remaining sons, Fafnir, killing his brother and turning into a monster. Fafnir is eventually killed by Sigurd the Volsung, giving rise to the saga which was to inspire Wagner’s Ring of the Nibelungen and, less directly, Tolkien’s The Lord of the Rings. It is apt that the image of a cursed ring symbolising the power of the ego should thus have originated in association with Loki.
2 . 摘自 1824 年约翰·奥古斯特·施通夫 (Johann August Stumpff) 与贝多芬的对话。此时的罗西尼正处于他的名气的顶峰。贝多芬仍在写最后的四重奏序列，将古典风格的框架延伸到其想象力的极致，这使他一生的作品得到了如此完美的解决。
2. From a conversation with Beethoven in 1824 recorded by Johann August Stumpff. Rossini at this time was at the height of his fame. Beethoven was still to write the final sequence of quartets, stretching the framework of the classical style to its ultimate imaginative extreme, which brought his life’s work to such a perfect resolution.
3。伍德夫人笔下的女主人公伊莎贝尔·韦恩女士因父亲的去世而变得贫穷而孤独，她嫁给了一位雄心勃勃的年轻律师，后者在东林恩买下了家里的房子，尽管她已经爱上了另一个男人。尽管生了三个孩子，她仍感到被丈夫忽视，并错误地怀疑丈夫不忠。她最终与情人私奔到法国，并与情人育有一个私生女，但情人却抛弃了她。伊莎贝尔和她的女儿成为铁路事故的受害者，孩子死亡，伊莎贝尔也因此残废并毁容。伊莎贝尔渴望再次见到她的孩子们，并以自己的伤残为掩饰，她令人难以置信地在她的老家赢得了家庭教师的职位。她首先要忍受前夫与新婚妻子幸福生活的景象，然后不得不看着她的儿子病得很重，尽管有她的悉心照顾，他还是死了（舞台版本中介绍了“死了，从来没有叫我妈妈”）。伊莎贝尔随后自杀，但在此之前她向前夫透露了自己的真实身份。他自然原谅了她，以提供一个“幸福的结局”。
3. Lady Isobel Vane, Mrs Wood’s heroine, having been left poor and alone by her father’s death, marries the ambitious young lawyer who has bought the family’s home East Lynne, even though she has already fallen in love with another man. Despite giving birth to three children, she feels neglected by her husband, whom she falsely suspects of being unfaithful. She eventually elopes to France with her lover, by whom she has an illegitimate daughter, but he abandons her. Isobel and her daughter become the victims of a railway accident, which kills the child and leaves Isabel hideously crippled and disfigured. Desperate to see her children again, and disguised by her maiming, Isabel implausibly wins the post of governess in her old home. She first has to endure the sight of her former husband living happily with his new wife, and then has to watch her son falling so ill that, despite her loving care, he dies (‘dead, and never called me mother’ was introduced in the stage version). Isobel then dies herself, but not before she has revealed her true identity to her former husband. Naturally he forgives her to provide a ‘happy ending’.
这种类型的小说在 1860 年代非常流行，在 WS 吉尔伯特的音乐喜剧《轰动小说》（A Sensation Novel ，1871 年）中受到讽刺，其中预示了半个世纪前的皮兰德娄，一部情节剧小说中的常见人物走出了他们的虚构角色，评论轻蔑地认为他们陷入了多么愚蠢的幻想之中。
Novels of this genre, so popular in the 1860s, were satirised in W. S. Gilbert’s musical comedy A Sensation Novel (1871), in which, foreshadowing Pirandello by half a century, the stock characters of a melodramatic novel step outside their fictional roles, to comment scornfully on what a silly piece of make-believe they have become caught up in.
4 . 另一个例子可以在威尔斯的短篇小说《时间机器》中看到，其中未来的社会被划分为“线上”的日光世界和地下的“世界”，前者居住着幼稚、爱好享乐、吃水果的埃洛伊人。线下世界，食肉莫洛克人生活在黑暗中，在机器上工作，然后在晚上出来恐吓和捕食埃洛伊人。作为一名 19 世纪末的社会主义者，威尔斯可能会将此视为一个寓言，讲述了特权、软弱的上层阶级和工业无产阶级之间的社会划分最终如何将他们分成不同的物种。
4. Another instance can be seen in Wells’s short story The Time Machine, where the society of the future is shown as divided between the ‘above the line’ daylight world inhabited by the infantile, pleasure-loving, fruit-eating Eloi, and the subterranean ‘below the line’ world, in which the flesh-eating Morlocks live in darkness, working at machines, before coming out at night to terrorise and prey on the Eloi. As a late nineteenth-century Socialist, Wells would probably have seen this as a parable of how the division of society between the privileged, effete upper-classes and the industrial proletariat would eventually separate them, in effect, into separate species.
5 . 拉威尔的波莱罗舞曲是 20 年代的一件艺术作品，以自己的方式反映了这一点（1922），用音乐表达了任何基于幻想的模式的需要，以创造螺旋上升的感觉。同样的曲调，几乎无限地重复着催眠般的持续节奏，在梦想舞台中越来越响亮，但走向什么？拉威尔怎样才能把他的幻想模式推向高潮和解决呢？在最后的小节中，我们听到他如何拼命追求难以捉摸的高潮，最终被迫改变调性（沮丧阶段）。这只会让对高潮的寻找变得更加疯狂。这首曲子陷入了一系列锯齿状的不和谐音（噩梦阶段），最后陷入了幻想自我毁灭的刺耳声音中。通过这样的模式，幻想展示了它最终发展自己的“死亡愿望”的方式。
5. One artistic product of the 1920s which reflected this in its own way was Ravel’s Bolero (1922), musically expressing the need of any pattern based on fantasy to create a rising spiral of sensations. The same tune, almost indefinitely repeated to a hypnotically insistent rhythm, rises ever louder through a Dream Stage, but towards what? How could Ravel bring his fantasy pattern to a climax and a resolution? In the closing bars we hear how, in desperate pursuit of that elusive climax, he is finally driven to change key (Frustration Stage). This only makes the search for a climax even more frantic. The piece falls into a series of jagged discords (Nightmare Stage), before finally collapsing into the cacophony by which the fantasy destroys itself. By such a pattern does fantasy demonstrate the way in which it ultimately develops its own ‘death wish’.
6 . 有趣的是，伟大的苏联电影制片人谢尔盖·爱斯坦斯坦（Sergei Eistenstein）无意识地预示了这一转变，他的《亚历山大·涅夫斯基》（ Alexander Nevsky）在 1938 年回到了俄罗斯中世纪，展示了一位虔诚的俄罗斯国王最终带领他的人民英勇战胜了来自西方的日耳曼入侵者。爱森斯坦之前的电影，例如《战舰波将金号》，主要是共产主义宣传，歌颂布尔什维克革命者的胜利。
6. Interestingly this switch was unconsciously foreshadowed by the great Soviet film-maker Sergei Eistenstein, whose Alexander Nevsky in 1938 had returned to the Russian Middle Ages to show a devout Russian king eventually leading his people to a heroic victory over Germanic invaders from the West. Eisenstein’s previous films, such as The Battleship Potemkin, had been largely Communist propaganda, exalting the triumphs of the Bolshevik revolutionaries.
7 . 1945 年 7 月 16 日，在阿拉马戈多进行第一次核试验后，曼哈顿计划的科学主任罗伯特·J·奥本海默 (Robert J. Oppenheimer) 用宗教意象来表达他的敬畏，这一点很能说明问题。他引用《巴格瓦德吉塔》中的湿婆神的话，惊呼“我已成为死亡，世界的毁灭者。”
7. It was telling that, after the first nuclear test at Alamagordo, on 16 July 1945, Robert J. Oppenheimer, scientific director of the Manhattan Project, resorted to religious imagery to express his awe. Quoting Shiva from the Baghavadh Gita, he exclaimed ‘I am become death, the destroyer of worlds.’
8 . 格林的两部最明显的“天主教”小说—— 《权力与荣耀》（The Power and the Glory，1938）和《问题的核心》（ The Heart of the Matter，1948）——以一位英雄为中心，他实际上已经失去了信仰，但却在绝望中坚持天主教的观念，就像体现了与他不再有任何活生生接触的自我。到了最后的考验时，格林在《权力与荣耀》中扮演的“威士忌牧师”面对行刑队却无法祈祷。问题的核心在《斯考比》中，警察斯考比的生活已经支离破碎，他摆脱了自杀给自己带来的问题，而他的教会教导说，自杀是终极的大罪。在每一个案例中，格林都试图以积极的“天主教”转折来结束他的故事。尽管教会在牧师被无神论政权处决中明显失败，但小说以新牧师的秘密到来结束，以表明教会永远存在。当斯考比去世时，书的结尾是一位牧师说他确信斯考比“真的爱上帝”，而斯考比的妻子也同意“他当然不爱其他人”。除了这些伤感的结论之外，这两部小说所描绘的人性图景也是令人难以释怀的黯淡。他们的性格显得困惑或空虚，迷失在道德的暮色中。
8. Greene’s two most overtly ‘Catholic’ novels – The Power and the Glory (1938) and The Heart of the Matter (1948) – centre on a hero who has in reality lost his faith but clings on in desperation to an idea of Catholicism, as embodying the Self with which he no longer has any living contact. When it comes to a final test, Greene’s ‘whisky priest’ in The Power and the Glory faces the firing squad unable to pray. In The Heart of the Matter, Scobie, the policeman whose life has fallen apart, escapes the problems he has brought on himself by suicide, which his Church teaches is the ultimate mortal sin. In each case Greene tries to end his story with a positive ‘Catholic’ twist. Despite the Church’s apparent defeat in the priest’s execution by an atheist regime, the novel ends with the secret arrival of a new priest, to show that the Church goes on forever. When Scobie dies, the book ends with a priest saying he was sure that Scobie ‘really loved God’, while Scobie’s wife agrees that ‘he certainly loved no one else’. Apart from these sentimental conclusions, the picture of human nature given by the two novels is unrelievedly bleak. Their characters are shown as confused or empty, lost in a moral twilight. In later years Greene abandoned his attempt to use ‘Catholicism’ as an image of ‘saving grace’ in his books, and, in proclaiming sympathy for various Communist regimes, appeared to have switched his sentimental projection of the ‘Self’ from Catholicism to a fuzzy Marxism.
9 . 柏拉图的原始版本是：“要警惕新型音乐的改变，因为它会危害我们所有人的命运。” 因为如果不扰乱最基本的政治和社会习俗，音乐的模式就永远不会受到干扰”（《理想国》，第四册）。
9. Plato’s original version was: ‘A change to a new type of music is something to beware of as a hazard to all our fortunes. For the modes of music are never disturbed without unsettling of the most fundamental political and social conventions’ (The Republic, Book IV).
10 . 《查泰莱夫人》的另一个特点在 20 世纪 50 年代末“下层阶级”作家的其他小说和戏剧中得到了呼应，那就是它以劳伦斯幻想他的社会“下线”英雄统治一位贵族“上线”女主人公为中心。《愤怒中的回顾》的一个重要组成部分是奥斯本这位自信的“下层阶级”英雄对他顺从的“上层阶级”妻子的口头强奸。同样，《顶层房间》中的约翰·布雷恩也幻想着他雄心勃勃的年轻工人阶级英雄神魂颠倒，主宰他即将娶的百万富翁的女儿（这与司汤达在《红与黑》中幻想他的英雄索雷尔对玛蒂尔德进行性羞辱的情景相呼应））。
10. Another feature of Lady Chatterley echoed in other novels and plays by ‘lower-class’ writers in the late 1950s, was the way it centred on Lawrence’s fantasising about his socially ‘below the line’ hero dominating an aristocratic ‘above the line’ heroine. An important ingredient in Look Back in Anger was the verbal raping by Osborne’s assertively ‘lower-class’ hero of his submissive ‘upper-class’ wife. Similarly John Braine in Room at the Top fantasised about his ambitious young working-class hero sweeping off her feet and dominating the millionaire’s daughter he was set on marrying (an echo of Stendhal’s fantasising about his hero Sorel sexually humiliating Mathilde in Le Rouge et Le Noir).
11 . 当六十年代的幻想达到顶峰时，没有什么比当时流行歌曲的歌词反映幻想周期的五个阶段更能反映这些年情绪的变化了。披头士乐队的早期歌曲，如“Love Me Do”和“Please, Please Me”，表达了期待阶段的情绪。预计的阿尼玛仍有待赢得。1963 年，随着他们的名气腾飞，梦想舞台通过诸如“她爱你”和“我想握住你的手”等孩子般的欢快歌曲来表达（女孩是他们的，阿尼玛已经赢了）。到了 1964 年和 1965 年初，随着名气和新生活方式的压力开始显现，他们的情绪变成了沮丧（“艰难的一天一夜”）和失落（“救命！”）。事实证明，梦想中的决心变得越来越难以捉摸，而滚石乐队 1965 年的热门单曲“I Can't Get No Satisfaction”则完美地表达了“挫折阶段”。不久之后，噩梦舞台（现在在美国，越南的现实生活中日益严重的噩梦加剧了这一局面）激发了一首绝望的美国热门歌曲，宣称“我们正处于毁灭的前夜”。紧随其后的是 1965 年秋天英国主要的流行热潮，The Who 疯狂的、自我毁灭的吉他演奏，他们在《My Generation》中尖叫着“我想在变老之前死去”。三年的时间里，这种幻想从天真、欣喜的期待变成了死亡的愿望。
11. Nothing better reflected the changing mood of these years when the Sixties fantasy was at its height than the way the words of the pop songs of the period reflected the five stages of the fantasy cycle. Early Beatles songs, such as ‘Love Me Do’ and ‘Please, Please Me’, expressed the mood of an Anticipation Stage. The projected anima was still to be won. The Dream Stage, as their fame took off in 1963, was expressed in the child-like euphoria of songs such as ‘She Loves You’ and ‘I Wanna Hold Your Hand’ (the girl was theirs, the anima had been won). By 1964 and early 1965, as the strain of their fame and new life-style began to tell, the mood changed to one of frustration (‘A Hard Day’s Night’) and loss (‘Help!’). The Frustration Stage, as the dreamed-of resolution proved ever more elusive, was never better expressed than in the Rolling Stones’ 1965 hit ‘I Can’t Get No Satisfaction’. Shortly afterwards, the Nightmare Stage (now fuelled in America by the growing real-life nightmare of Vietnam) inspired a despairing American hit-song proclaiming ‘We’re on the eve of destruction’. This was followed, as Britain’s chief pop-craze in the autumn of 1965, by the frantic, auto-destructive guitar-smashing of The Who, as they screamed out in ‘My Generation’ how ‘I wanna die before I get old’. In three years, the fantasy had travelled from naive and euphoric anticipation to death wish.
尽管当时的电影、戏剧和小说普遍倾向于变得更加暴力和露骨，而它们的叙事和意象也变得更加支离破碎和超现实（例如，披头士乐队的电影《艰难的一天之夜》和《救命啊！》），The Knack、What's New Pussycat？），当然也有例外。这些年好莱坞的两部主要成功作品是《窈窕淑女》 (1964) 和《音乐之声》(1965)，它们改编自 20 世纪 50 年代早期传统的更传统的音乐剧。
Although there was a general tendency for the films, plays and novels of the time to become more violent and sexually explicit, and for their narratives and imagery to become more fragmented and surreal (e.g., the Beatles films A Hard Day’s Night and Help!, The Knack, What’s New Pussycat?), there were of course exceptions. Two major Hollywood successes of these years were My Fair Lady (1964) and The Sound of Music (1965), based on more conventional musicals dating from the earlier tradition of the 1950s.
12 . Daniel J. Boorstin，《形象：美国梦发生了什么》（伦敦，Weidenfeld 和 Nicolson，1961 年）。他的题词取自瑞士小说家和剧作家马克斯·弗里施（Max Frisch）：“技术……安排世界的诀窍，让我们无需经历它。”
12. Daniel J. Boorstin, The Image: What Happened to the American Dream (London, Weidenfeld and Nicolson, 1961). His epigraph was taken from the Swiss novelist and playwright Max Frisch: ‘Technology ... the knack of so arranging the world that we don’t have to experience it.’
13 . 1978 年 6 月，索尔仁尼琴在哈佛大学的一次演讲中提出了他的分析。
13. Solzhenitsyn offered his analysis in a speech at Harvard University in June 1978.
14 . 杰梅因·格里尔（Germaine Greer）的《女太监》一书很好地说明了这一点，这本书有助于激发“妇女运动”（1970）。这本书强调女性在心理的“男性”功能方面与男性竞争的能力，同时认为“女性”功能不重要。例如，格里尔热衷于声称女性可以在“计数、数学推理、空间认知、抽象推理、打破集合和重组等认知能力”方面超越男性。随后，她列出了在商界与男性成功竞争的女性，并且像当时的其他女权主义者一样，她非常强调“阴蒂高潮”，以女性相当于男性性器官的方式为中心。但对于“女性价值观”，格里尔却极其蔑视。例如，成为护士的女性，他们只是被男人愚弄，“感觉良好，因为他们正在减轻痛苦”，这样他们就会过度劳累，工资过低（这让他们“疲倦、怨恨和烦恼”）。至于对于客观理解至关重要的直觉功能，她用典型的“伪男性”术语驳斥了这一点，认为它只不过是“一种观察行为中微小的、无关紧要的方面并形成无法通过三段论检验的经验结论的能力”。格里尔通过描述自己是一个软弱、以自我为中心的父亲和一个专横的母亲的孩子，无意识地揭示了她自己难以与自己性格中的“男性”或“女性”成分建立积极联系的根源。因此，她的父母都没有为她提供成熟的性别模式。至于对于客观理解至关重要的直觉功能，她用典型的“伪男性”术语驳斥了这一点，认为它只不过是“一种观察行为中微小的、无关紧要的方面并形成无法通过三段论检验的经验结论的能力”。格里尔通过描述自己是一个软弱、以自我为中心的父亲和一个专横的母亲的孩子，无意识地揭示了她自己难以与自己性格中的“男性”或“女性”成分建立积极联系的根源。因此，她的父母都没有为她提供成熟的性别模式。至于对于客观理解至关重要的直觉功能，她用典型的“伪男性”术语驳斥了这一点，认为它只不过是“一种观察行为中微小的、无关紧要的方面并形成无法通过三段论检验的经验结论的能力”。格里尔通过描述自己是一个软弱、以自我为中心的父亲和一个专横的母亲的孩子，无意识地揭示了她自己难以与自己性格中的“男性”或“女性”成分建立积极联系的根源。因此，她的父母都没有为她提供成熟的性别模式。她用典型的“伪男性”术语驳斥了这一点，认为它只不过是“一种观察行为中微小的、无关紧要的方面并形成无法通过三段论检验的经验结论的能力”。格里尔通过描述自己是一个软弱、以自我为中心的父亲和一个专横的母亲的孩子，无意识地揭示了她自己难以与自己性格中的“男性”或“女性”成分建立积极联系的根源。因此，她的父母都没有为她提供成熟的性别模式。她用典型的“伪男性”术语驳斥了这一点，认为它只不过是“一种观察行为中微小的、无关紧要的方面并形成无法通过三段论检验的经验结论的能力”。格里尔通过描述自己是一个软弱、以自我为中心的父亲和一个专横的母亲的孩子，无意识地揭示了她自己难以与自己性格中的“男性”或“女性”成分建立积极联系的根源。因此，她的父母都没有为她提供成熟的性别模式。
14. This was well illustrated by one of the books which helped to inspire the ‘women’s movement’, Germaine Greer’s The Female Eunuch (1970). The book laid all its emphasis on the ability of women to compete with men in terms of the ‘masculine’ functions of the psyche, while dismissing the ‘feminine’ functions as unimportant. Greer was eager to claim, for instance, that women could outperform men in ‘cognitive abilities like counting, mathematical reasoning, spatial cognition, abstract reasoning, set-breaking and restructuring’. She followed this by listing women who had successfully competed with men in the business world, and like other feminists of the time she laid great emphasis on the ‘clitoral orgasm’, centred on the female equivalent of the male sex organ. But of the ‘feminine values’, Greer was witheringly scornful. Women who became nurses, for instance, were only fooled by men into ‘feeling good because they are relieving pain’ so that they could be overworked and underpaid (which left them ‘tired, resentful and harried’). As for the intuitive function which is crucial to objective understanding, she dismissed this in typically ‘pseudo-masculine’ terms as no more than ‘a faculty for observing tiny insignificant aspects of behaviour and forming an empirical conclusion which cannot be syllogistically examined’. Greer unconsciously revealed the roots of her own difficulty in relating positively to either the ‘masculine’ or ‘feminine’ components of her personality by describing how she was the child of a weak, self-centred father and a domineering mother. She was thus not provided by either of her parents with a mature gender model.
15 . 这种集体主义新正统观念的出现在很多方面让人想起柏拉图在《理想国》第八卷中对其政治周期最后阶段的描述，其中，随着“民主”变得越来越痴迷于底层人民的“权利”，它变异为'暴政'。二十世纪末，西方社会出现了许多“暴政”新阶段的迹象，尤其是政府日益技术官僚性质，例如欧盟的崛起。
15. In many ways the emergence of this collectivist new orthodoxy recalled Plato’s description in Book VIII of The Republic of the final stages of his political cycle where, as ‘democracy’ becomes increasingly obsessed with the ‘rights’ of those below the line, it mutates into ‘tyranny’. There were many signs of a new phase of ‘tyranny’ appearing in western societies at the end of the twentieth century, not least in the increasingly technocratic nature of government, manifested, for instance, in the rise of the European Union.
16 . 一个罕见的例外是编剧最终结束王朝的大屠杀。以这种方式利用故事的吸引力让观众着迷的起源可以追溯到十九世纪，当时杂志定期连载狄更斯或哈代等作家的小说，每期都以某种情感悬念作为结尾，以确保读者会购买下一期。某些作者开发了这种技术，通过创作围绕同一组人物的一系列小说来吸引读者。从这个意义上说，特罗洛普的帕里塞小说构成了高级的“肥皂剧”，正如后来高尔斯华绥关于福尔赛家族的小说和安东尼·鲍威尔的《随着时间的音乐起舞》一样。
16. A rare exception was the massacre by which the scriptwriters eventually ended Dynasty. The origins of using the appeal of stories to keep an audience spellbound in this way went back to the nineteenth century, when magazines serialised novels by authors such as Dickens or Hardy in regular instalments, each ending on some highpoint of emotional suspense to ensure that readers would buy the next issue. Certain authors developed this technique for getting their readers hooked by producing a whole sequence of novels centred around the same group of characters. In this sense Trollope’s Palliser novels constituted high-grade ‘soap opera’, as later did Galsworthy’s novels about the Forsyte family and Anthony Powell’s Dance to the Music of Time.
17 . 2004年，英国圣公会母亲联盟在年轻人中进行的一项民意调查发现，玛吉·辛普森作为“公共生活中最好的母亲”的得分比任何其他人（无论是真实的还是虚构的）都要高。作为一个理想的榜样，她因其“脚踏实地的做法”、她团结家人的方式以及她给孩子们的建议而受到钦佩，例如“倾听你的内心，而不是头脑中的声音” （《泰晤士报》，2004 年 3 月 17 日）。
17. In 2004 a poll carried out among young people by the Anglican Mothers’ Union found that Marge Simpson scored more highly than anyone else, real or fictional, as ‘the best mother in public life’. As an ideal role model, she was admired for her ‘down-to-earth approach’, for the way she held her family together and for her advice to her children such as ‘listen to your heart, not the voices in your head’ (The Times, 17 March 2004).
18 . 以色列/巴勒斯坦问题的核心在于自我与自我的混乱，这种混乱导致犹太人如此严格地将他们的集体身份认同为种族和宗教。尽管以色列是作为一个“民主国家”建立的，但它因此无法发展成为一个基于同化原则的自由社会，该同化原则将允许其两个主要种族群体逐渐走到一起（就像世界上其他社会一样，不同的种族和群体文化最终达到了一种妥协的方式）。对阿拉伯人的排斥不可避免地在不可调和的“对立面”之间引发了一场典型的对抗，根据典型模式，每一个对立面都被迫变得更加极端：以色列人无情地主张统治地位，并向周围的巴勒斯坦领土扩张。在以色列原来的领土上，巴勒斯坦人日益绝望并以自杀式的方式反对统治政权。这反过来又将外部世界分成了两个阵营，双方都支持，造成了僵局，根据原型，除了最终的灾难之外，没有任何解决的希望。
18. The heart of the Israeli/Palestinian problem lay in that ego-Self confusion which led the Jews so rigidly to identify their collective identity with race and religion. Although Israel was set up as a ‘democracy’, it thus could not develop into a liberal society based on that principle of assimilation which would allow its two main racial groups gradually to come together (as in other societies across the world where different races and cultures had eventually achieved a modus vivendi). The exclusion of the Arabs inevitably set up a classic confrontation between irreconcilable ‘opposites’, each of which, according to the archetypal pattern, was driven to become ever more extreme: the Israelis in their relentless assertion of dominance and expansion into the Palestinian lands surrounding the original territory of Israel, the Palestinians in their increasingly desperate and suicidal opposition to the ruling power. This in turn polarised the outside world into two camps, supporting each side, creating an impasse which, according to the archetype, offered no hope of resolution other than some eventual catastrophe.